Abstract:

This thesis will give a brief analysis of Nobody Knows, Still Walking, Like Father, and Our Little Sister, Hirokazu Koreeda’s representative works, from the perspectives of the history and origin of family aesthetics in Japanese films and the manifestation of family values in literary works and films. This thesis attempts to analyze how Hirokazu Koreeda explains and depicts family themes and focuses on every individual with his unique film aesthetics. In-depth analysis will go to two aspects: first in his specialized aesthetic situations, how lens language, narrative structure, stage property and scene express the thought and second, how the significant family characterization is completed through character relations, character identities and character’s point of view. Eventually, Hirokazu Koreeda’s influences on Japanese films will be evaluated based on fore-mentioning analysis.

This thesis intends to gain a panoramic picture of family aesthetics in Asian filming through the discussion of Hirokazu Koreeda’s aesthetic style and thus gives inspiration to the creation of Chinese family films.

Key words: Japanese Movies, Family Aesthetics, Hirokazu Koreeda