Are we there yet? Traveling toward the self in contemporary Japanese cinema
Bibliographic record
Abstract
This paper will explore the ways in which the two dimensions of travel-outer movement through space and inner movement through time, memory, and the self-cohere in contemporary Japanese cinema, proposing, after Graburn and other anthropologists, that travel does indeed function as a multi-faceted secular ritual, here highlighting the process of identity-formation and self-discovery not situated, as in the works of pre-modern writers, in the natural world, but rather within the urban space of the modern, westernised Japan.I will draw on two films, Vibrator (Hiroki Ryuichi, 2003) and Drive (Sabu, 2002), utilising both narratological and visual/semiotic analyses, to examine ways in which directors have captured these complementing aspects of temporal, spatial, and psychological movement in works fundamentally concerned with the process of creation of self-identity, both to situate this self-identity within and to overcome the potentially alienating, modern, urban space. THE LINEAGE OF TRAVEL IN THE JAPANESE LITERARY ARTSTravel is certainly nothing new in the Japanese arts, from the earliest days of literary expression to the most contemporary notions of virtual travel in animated video games.With the haikai poet, Bashō (1644-1694), travel becomes an artform in and of itself, a source of inspiration for the poet as well as a means of reconnecting the artist with the antecedent classics of Japanese art.Travel existed for Bashō as something which he could not resist, as a force of nature within himself that compelled him to explore the literary lansdscape of Japan.As he himself has it in the famous opening lines of his most well-known work, Oku no hosomichi (Narrow Roads to the Interior, 1689), "I, too, now when would that have been-I, too, could not stop my thoughts of wandering, of drifting like a cloud blown by the wind…" What we have here is, on the one hand, a very personal account of the relationship between the poet and travel, and a very intimate connection between the poet and the natural world.I've left out for brevity's sake the continuation of this sentence which flows forward from idea to idea very
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.006 | 0.006 |
| Scholarly communication | 0.004 | 0.003 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".