First of all, a bit of (old?) news from the entertainment world: Kanno Miho, who played Shogun Tokugawa Tsunayoshi in the film Ôoku: Eien, and Sakai Masato, who played Arikoto in the drama and Emonosuke in the film, registered their marriage on 2 April. おめでとうございます！May your work in excellent gender-based dramas lead to you happiness. (Sources: Oricon, Tokyo Hive)
Posts Tagged ‘Oooku’
Posted in Ôoku, Culture, Gender, Manga, tagged alternate history, Arikoto, Aso Yumi, Ôoku: Tanjô, female sexuality, Gender, gender expression, genderswap, Gyokuei, Iemitsu, J-drama, Kasuga, Masakatsu, Matsudaira, Ooku: The Inner Chambers, Oooku, Sakai Masato, samurai, shipping, Tabe Mikako, Tanaka Koki, Yoshinaga Fumi, Ōoku on 2013/05/04 | 1 Comment »
Posted in Ôoku, Gender, tagged alternate history, Arikoto, Aso Yumi, Ôoku: Tanjô, Gender, gender expression, genderswap, Gyokuei, Iemitsu, J-drama, Kasuga, Masakatsu, Matsudaira, Ooku: The Inner Chambers, Oooku, Sakai Masato, samurai, Tabe Mikako, Tanaka Koki, Yoshinaga Fumi, Ōoku on 2013/03/07 | 2 Comments »
Posted in Ôoku, Culture, Gender, Manga, tagged Arikoto, Aso Yumi, 男女逆転大奥, drama, genderswap, Iemitsu, KUBOTA Masataka, manga, Ohoku, Oooku, Sakai Masato, Tabe Mikako, Tokugawa, Yoshinaga Fumi on 2012/12/26 | 8 Comments »
After Ep. 3, my will to watch this show waned a lot. Fortunately, the drama picks up more in this episode, and there are points I was willing to overlook or accept for the sake of adapting this manga for TV. Arikoto’s cross-dressing scene in Ep. 3 was not one of them, so I’m still a bit sore about that.
Warnings: spoilers for the manga and drama, including some from later episodes/chapters.
More Ôoku here.
Posted in Advertisements, Ôoku, Gender, Manga, Visual Culture, tagged alternate history, Arikoto, よしながふみ, Ôoku Eien, Ôoku: Tanjô, Birth, 男女逆転大奥, Emonosuke, Eternity, film, Gyokuei, Iemitsu, Kaneko Fuminori, KAT-TUN, manga, Ohoku, Ooku: The Inner Chambers, Oooku, Sakai Masato, speculative fiction, Tanabe Makako, TBS, Tsunayoshi, Yoshinaga Fumi, Ōoku on 2012/08/18 | 4 Comments »
Finally! I’ve been waiting and waiting for some teaser photos from the new Ôoku TV series (Ôoku Tanjô, Oct. 2012) and film (Ôoku Eien, Dec. 2012), and here they are!
TBS Drama. Ôoku: Tanjô (Arikoto/Iemitsu) (『大奥：誕生』[［有功・家光篇]). Release date: Oct. 2012.
Let me talk about effective uses of visual media for marketing to potential viewers and to rabid fans. When you release the first promotional photos into the wild, you want your audience to have an immediate all-caps reaction Tumblr-style:
WHAT IS THAT I MUST SEE IT NOW
ALL THE FEELS
Posted in Ôoku, Gender, Manga, Media, tagged Arikoto, Emonosuke, genderswap, Iemitsu, Kaneko Fuminori, Kanno Miho, manga, movie, Ohoku, Ooku: The Inner Chambers, Oooku, Sakai Masato, Shogun, Tabe Mikako, Tsunayoshi on 2012/02/02 | 3 Comments »
Followers of this blog know both how much I love Yoshinaga Fumi’s Ôoku (男女逆転大奥)–both the 2010 film version of vol. 1 (Yoshimune-Mizuno) and especially the Iemitsu-Arikoto story arc in vols. 2-4. One of my Yoshinaga-fan friends and I have often talked about how great it would be if there were movies or a TV show of the other story arcs in the manga, particularly the Iemitsu arc, and now our wish has been granted. The Arikoto-Iemitsu storyline (vol. 2-4) will be made into a serial drama to be aired on TBS starting in October 2012, and the Emonosuke-Tsunayoshi arc (vol. 4-6) will be made into a film, which will open in theaters nationwide on Dec. 22, 2012, after the airing of the drama finishes.
There are some spoilers below, so be warned.
Posted in Ôoku, Culture, Gender, Manga, Media, tagged よしながふみ, Chie, 男女逆転大奥, Denemon, genderswap, Iemitsu, Kasuga, Madenokouji Arikoto, manga, Ohoku, Ooku: The Inner Chambers, Oooku, The Lady Shogun and Her Men, Yoshinaga Fumi, 大奥 on 2011/05/15 | 7 Comments »
Part 3: The New Culture
In the final installment of my look at the cultural revolution during Iemitsu’s reign in Yoshinaga Fumi’s manga 『大奥』 (Ôoku), I’d like to explore the political and cultural changes to the (female) Iemitsu’s Edo through the connection between fashion and political power.
Posted in Ôoku, Culture, Gender, Manga, Media, tagged よしながふみ, carnivore women, 男女逆転, Gender, gender non-conformity, genderswap, herbivore men, Madenokouji Arikoto, manga, Ohoku, Oooku, Shogun, Tokugawa Iemitsu, Yoshinaga Fumi, Ōoku, 大奥 on 2011/04/09 | 1 Comment »
Part 2: Political Power and Female Daimyô
As the events happening within the ôoku reflect the changes in sexual culture this reimagined Edo Period, Yoshinaga, with her wonderful knack for world-building, shows the full societal impact that the decimation of the male population and the unbalanced sex ratio have on the greater political and social culture.
Posted in Ôoku, Culture, Gender, Manga, Media, tagged よしながふみ, 男女逆転大奥, Edo period, female shogun, Gender, genderswap, Kasuga, Madenokouji Arikoto, manga, Ohoku, Ooku: The Inner Chambers, Oooku, Shogun, The Lady Shogun and Her Men, Tokugawa Iemitsu, Yoshinaga Fumi on 2011/02/07 | 16 Comments »
Manga Review: 『大奥』（Ōoku：The Inner Chambers), Vol. 2
Read the review of Vol. 1 here.
Sad to leave Yoshimune and Mizuno of vol. 1 behind for the next story arc, I reluctantly started vol. 2 of Ôoku, but I quickly left my regrets behind as I got absorbed in the story. Readers, this manga is a tour de force. It’s not just the art or the writing– this volume put me through an emotional wringer in a way that only the endings of Nausicaa of the Valley of the Wind and The Rose of Versailles have.
As Yoshimune reads the records of the ōoku, we travel back in time to the 1630s. The manga starts with an explanation: The first two Tokugawa shoguns, Ieyasu and Hidetada, were men. However, the third shogun, Iemitsu, fell victim to the Red Pox. Little by little, we piece together the (disturbing) story of how the female Tokugawa line started.
Spoilers, of course, follow.
Posted in Ôoku, Culture, Gender, Manga, Media, tagged Edo period, female shogun, film, genderswap, manga, Mizuno Yunoshin, Ohoku, Oooku, sex vs gender, Shogun, The Lady Shogun and Her Men, Tokugawa Yoshimune, Yoshinaga Fumi, Ōoku, 大奥 on 2011/01/25 | 16 Comments »
Manga Review: 「大奥」（Ōoku：The Inner Chambers), Vol. 1
Although a friend of mine had suggested I read 「男女逆転大奥」(Ōoku: The Inner Chambers) back in May, I didn’t really get the Ōoku fever till August, when I went to see my first movie in a theater in Japan. (For 1700 yen–and that is why I will probably stop at three movies while here.) On the cover of the movie magazine you get with your ticket was a photo of a man and woman in period clothing, which I thought nothing of till I opened the magazine to this page:
“This is the Shogun. This is her retainer,” it read.
Well, sign me up!
I saw the movie in November, and I finally read the first volume of the manga in December. I loved the movie, but because I’m not accustomed to the non-contemporary language—the Japanese equivalent of Shakespearean English—I had a little trouble on the finer points of the film. I was really worried that the manga would be too difficult for me, but after looking up some of the words (thank god for Japanese-Japanese dictionaries), I actually got through it in a reasonable amount of time.
There are spoilers here for the film and the manga. This refers to the Japanese version, not from the official English version form Viz.
Women are irrational, that’s all there is to that!
Their heads are full of cotton, hay, and rags!
They’re nothing but exasperating, irritating,
vacillating, calculating, agitating,
Maddening and infuriating hags!
-Henry Higgins in My Fair Lady, “Hymn to Him”
I recently saw Ōoku (大奥), an alternate history film based on the first volume of the manga of the same name, and the whole time I was watching the men in this film, I couldn’t get “Hymn to Him” out of my head. I’ve written about gender vs. sex in the media before, but this film takes the cake–it would make Henry Higgins scream.
Ōoku (大奥) focuses on the inner chambers of the Shogun’s palace and the people who live and work there. The real ōoku was where all the women connected to the Shogun lived (read: harem), and in the past, there have been films and TV series about the rivalries of his concubines. However, in this Ōoku, distinguished by the modifier “gender swap” (literally “male-female reversal”),* most of the men in Japan have died from The Red Death, a horrible disease that only affects men. As a result of the epidemic, the sex ratio has been changed to 1 man to 4 women. Men have become a hot commodity—only the well-off can purchase husbands for their daughters to marry; the rest must patronize prostitutes if they are interested in having sex with men or having children.
In the film, Mizuno Yunoshin (Ninomiya Kazunari), is a martial artist by day and a freelance sex-worker by night. Because of class differences, he doesn’t think he can marry his childhood sweetheart, the お嬢様 Onobu (Horikita Maki), and it is unlikely his sister can afford a proper husband, so, to support his family, he sells himself into the ōoku, where the Shogun keeps 3000 beautiful men. Right after he enters the ōoku, the young Shogun dies and is replaced by Tokugawa Yoshimune (Shibasaki Koh), a woman who is headstrong and aware of the power in her position but nonetheless a capable and intelligent ruler. The plot follows country bumpkin Mizuno’s attempts to navigate the social order in the ōoku, as his fellow ōoku inhabitants backstab, gossip, hook up, rape, and beat up each other when they aren’t trying on clothes or practicing kendo.