Has he found a place in the world; if so, what about Mika and his buried memories? Long shots are then provided in most these scenes to show things like the room arrangements and the moods of the deceased family members. From these representations, it is clear that death is unpleasant and that it occurs in diverse ways, which is one of the reasons why most of these films chose to approach this issue in many ways. Departure review – stifling holiday drama. Just like it is illustrated in the film, Kim explains that Japanese death rituals are only performed in the rural areas.

For example, the peaceful departure that is emphasized through the rituals is part of Buddhism, which supports a peaceful journey to the other life (Okuyama 14). From the film, it is clear that though the Japanese fears death and views it as a taboo, they funeral preparation is highly ritualized, especially in the rural areas. A Brief Analysis of the Film

Be the first to contribute! Sun 22 May 2016 17.00 AEST “Contemporary Japanese view of life and death as depicted in the film Departures (Okuribito).” Medical humanities (2010): jmh-2009. Asai, Atsushi, Miki Fukuyama, and Yasunori Kobayashi. The film revolves around the life of Daigo, a mortician who assumed his role after an orchestra that he was part of was disbanded. Yet the film plays with our affections, alternately seducing and repelling us. | However, Kim notes that some of the funeral rituals are done in the hospital where death takes place. The other film element used is genre as the film falls in the drama category.

In the rural south of France, where his mother is closing up the family’s holiday home, brittle British teenager Elliot (Alex Lawther) becomes besotted with the alluring Clément (Phénix Brossard), only to discover that his frustrated, heartbroken mum has similar interests.

other elements like mise-en-scene are also combined with these major elements to develop the main themes. Though his musical career is different from his mortician career, the editing focusses on the violin to continue with the theme of death and his role as a mortician.

As mentioned earlier, Daigo is the main character who follows a plot related to death and funeral rituals in the Japanese culture. For that reason, many of them present mortality in various ways such as through the display of corpses in horror films, death images, and the numerous images walking corpses in zombie films.

However, after his friends and his wife finds out about his job, they look down upon him. Back to square one, an unexpected employment ad for what sounds like a job in a travel agency will seem like a promising offer; however, an unlucky misprint will soon reveal that this job refers to a mortician instead. In this belief, which religions like Buddhism view as true, the soul and a person’s individuality continues in the next life. To develop all these themes, the film maker uses various film elements like plot, character, genre, mise-en-scene, cinematography, editing, acting among others. In conclusion, the film Departures by Yojiro Takita largely deals with theme of death and other sub themes such as religion, and funeral rituals in the Japanese culture. She assents. For example during the rituals, most of the camera focusses on the deceased through a close up shot, and this can be seen in the same mock ritual done by Diago and the film crew. Menu. When his orchestra is dissolved, cellist Daigo Kobayashi is left unemployed. Kim mentions that some of the Japanese death rituals take place at the deceased person’s house, which is true since most of Daigo’s rituals are done at the deceased persons’ houses. Yojiro Takita. However, it takes Daigo’s wife some moments with Daigo in his preparation of a dead body to wake from her slumber.

Just click the "Edit page" button at the bottom of the page or learn more in the Synopsis submission guide. Protagonist Daigo Kobayashi is maneuvered into the undertaking profession through a series of feeble narrative contrivances. “The purification process of death: mortuary rites in a Japanese rural town.” Asian ethnology 71.2 (2012): 225.



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