| Abstract: | Abstract Despite little improvement in the socio‐political predicament of Okinawa since its reversion to Japan, culturally there has recently been something of an ‘Okinawa boom’ in mainland Japan. This has involved a huge interest in Okinawa and Okinawan cultures in mainland Japan and an increasing ‘consumption’ of Okinawan goods and cultural artefacts. One of the symptoms of this trend has been the growth in the last five years or so, in the number of films set in Okinawa. Many of these films present conventional stereotypical images of Okinawa and, whether wittingly or not, have contributed to the ‘cosmetic operation’ of Japan’s multiculturalism by providing a utopian vision of Okinawanness and erasing Okinawa’s problems from the screen. However, an Okinawan filmmaker, Takamine Go, critically challenges such stereotypes and Japan’s cosmetic multiculturalism. This paper focuses on Takamine’s Untamagirū (1989 Takamine, Go. 1989.   Google Scholar]) and Tsuru‐Henry (1999). It examines the cinematic strategies mobilised by these films – the use of different languages, allegorical implications, complex montages of image and sound, and the departure from conventional narrative realism. These strategies, it will be suggested, not only enable the films to explore complex forms of public memory and history but also to challenge the notion of a homogeneous Japan and its ‘quasi‐orientalist’ gaze towards Okinawa. The paper then proceeds to argue that Takamine’s films should not simply be regarded as a ‘regional’ variant of Japanese cinema but as a ‘specifically Okinawan cinema’ that both overlaps with and opposes a ‘national’ Japanese cinema. |
