The Aesthetic of Mono no Aware in the Film Kwaidan

Abstract

As a spiritual value deeply rooted in Japanese cultural consciousness, mono no aware permeates multiple cultural and artistic forms. This paper takes Masaki Kobayashi’s film Kwaidan as the primary object of study and analyzes how the film visualizes, narrativizes, and modernizes the tradition of mono no aware. Drawing from aesthetics, film theory, Japanese literature, and cultural studies, the article contextualizes mono no aware within the broader genealogy of Japanese aesthetics—including yūgen, wabi-sabi, and Buddhist conceptions of impermanence. Through the symbolic use of seasonal imagery, spatial constructions imbued with yūgen, and Noh-inspired performance techniques, the film articulates a cinematic translation of Motoori Norinaga’s idea of “knowing mono no aware.” Ultimately, the paper argues that Kwaidan not only recreates classical Japanese aesthetics but also presents a modern reflection on life, death, and emotional fragility.