Ideologia zza wrót piekieł. Polityczne znaczenie yōkai w filmach Kaneto Shindō — "Onibaba" (1964) i "Kuroneko" (1968)

Abstract

This article examines Onibaba (1964) and Kuroneko (1968), two films by Kaneto Shindō that explore the destructive aftermath of war within the context of Japanese history and culture. Both films draw heavily on Japanese folklore, particularly the phenomenon of yōkai, to delve into themes of trauma, dehumanization, and societal disintegration. The narratives of Onibaba and Kuroneko center on two female protagonists — a mother-in-law and her daughter-in-law — who navigate violent and oppressive circumstances. Shindō uses these characters to critique societal norms, foregrounding women’s experiences and their resistance to wartime and post-war realities. While Onibaba portrays the descent into moral decay through a tale of survival during Japan’s civil war, Kuroneko employs supernatural motifs to illustrate vengeance and the tension between love and duty. Shindō’s films differ from contemporaneous works by Japanese New Wave directors in their emphasis on historical and folkloric elements. Rather than romanticizing Japan’s past, Shindō uses it as a lens to confront modern social issues, particularly national trauma after World War II. Through a blend of theatrical tradition, genre-specific horror, and folkloric symbolism, his works highlight the enduring conflict between tradition and individual agency. This study positions Shindō’s films within broader interpretive frameworks, including Kunio Yanagita’s folkloristic research, to explore their reflection on Japan’s historical identity and their critique of war’s enduring impact. The films stand as a universal reminder of the need to reckon with the past to rebuild cultural identity.