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 | | Hibaris innocent cinematic characters, who entertained, gained public applause, and enjoyed considerable material success, supplanted the scrappy, delinquent orphans of earlier postwar movies who struggled for respect, earned modest livings, and developed character through physical labor. |
 | | Centering on Misora Hibaris childhood films, this paper examines how, like other orphan films, her movies reconfigured the family and reenergized adults demoralized by war and defeat. |
 | | Through Misoras persona as a musical performer, the cinematic orphan moved from an active, turbulent confrontation with destitution and moral choices to an energetic but consistently innocent and uncomplicated victimhood resolved with relative ease and less troubled by reminders of war and defeat. |
| www.aasianst.org /absts/1998abst/japan/j156.htm (1150 words) |
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