Essay: Social Apprehension of Woman

Sample Essay

Kenji reflects at the same time house arrest of Utamaro in 1804 along with several of his friends when he made a mockery of Toyotomi Hideyoshi. In his print he showed the military ruler enjoying the delights of pleasures of the floating world. Utamaro’s decline was connected to this stark reality that posed a challenge for the political authority at that time.

Mizoguchi also depicts the wood block triangular form printing when one of the courtesans in the movie is shown to have a sketch made on her back. Utamaro sketches a nurse and child on Takasode’s back (Rosenbaum, 1985). In these prints, a bonding between the picture of the woman as nurturer and as sexual object is attained. One might say that this form of creativity actualizes the reality that both Utamaro and Kenji achieve is on the backing of a woman, relying on them to inspire and communicate themselves, psychologically and aesthetically.

In general, the film moves from control to liberty, from the glaringly beautiful demonstration of court ladies against a backdrop of growing cherry trees with which it opens to the absolute flow of prints enthused by a sole catastrophic fervor with which it ends. But this group is by no means easy. For the sovereignty of Utamaro the artist is paralleled and in a sense exceeded by the greater sovereignty of his preferred form of art; the courtesan Okita, whose chaotic life—she eventually kills an adulterous lover—has its own dismal and extravagant splendor (Rivette, 1985).

Utamaro’s interest in questioning the exterior of the subject and his use of slight hints is to create a character for a pretentious woman who exemplifies a certain type of a woman. We can, for instance believe that rather probing depiction of a young woman is majorly a focus of Utamaro and the director Mizoguchi Kenji who reflect through their art a social apprehension of woman drawing particular attention on her character and outlook.

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