This chapter frames the Japanese cinema and TV genre of ‘home drama’ shomin-geki,, as a sensory mode of ethnography about ‘ordinary people’, which is nevertheless virtual—a phantasmagoria of cultural practices and feelings. Through a critical ‘reading against the grain’ of this genre and particularly the works of Naruse Mikio as examples of ‘vernacular modernism’, it shows how these films
... [Show full abstract] provides a valuable portrait of modern Japanese culture as it imagined itself to be.