The chapter analyzes the sense of “Japanese” in the film Café Lumière, in other words, the fact that many of the Japanese audience felt that it was a “Japanese film.” The “Japaneseness” of course did not simply occur at the site of reception but was also embedded as a strategic commodity, produced by multiple Japanese companies: Shôchiku, Asahi Newspaper, Sumitomo Corp., Satellite Theater, and IMAGICA. Hou states in an interview, “The theme of the film had already been decided from the beginning, and I was requested to make a Japanese film.” The chapter views the film as a success in creating a “common sense [kyôtsû-kankaku],” and its oxymoronic aspect—a Taiwan filmmaker’s Japanese film-is one of the film’s attractions. By adapting philosopher Ôhashi Ryôsuke’s concept of “systemic sense,” originated from Aristotle’s “common sense,” the chapter analyzes how the filmmaker made the oxymoron possible.

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doi.org/10.1093/oso/9780190254971.003.0005
School for Studies in Art and Culture

Wada-Marciano, M, & O'Reilly, S. (Sean). (2017). A dialogue with “memory” in hou hsiao-hsien’s café lumière(2003). In Reorienting Ozu: A Master and his Influence (pp. 59–76). doi:10.1093/oso/9780190254971.003.0005