Write a critical review exploring the complexities of gender, identity construction and

identity formation in contemporary Japanese society as depicted in the documentary

film Shinjuku Boys (1995).

1. Film Synopsis and Contextualization:

"Shinjuku Boys" is a documentary film released in 1995 that follows the lives of

three female impersonators working at a Tokyo bar called "New Marilyn" in the Shinjuku

district. The film explores their experiences as they navigate their dual identities as male

and female performers on stage and individuals offstage, highlighting the complexities

within gender values, identity construction, and societal expectations. The narrative

structure of the film is primarily observational, offering a glimpse into the daily lives and

struggles of the performers as they wrestle with societal norms and seek desperately

acceptance and understanding.

Shinjuku, located in Tokyo, has been historically significant as a hub for diverse

communities and nightlife, including LGBTQ+ communities. According to the

documentary script, During the post-World War II era, Shinjuku emerged as a vibrant

and dynamic district, characterised by its entertainment establishments, bars, clubs, and

red-light districts. Some believe that Shinjuku is largely a Gay district of Asia (Staff,

2023). This URL media sources the information from The Guardian by stating that

“According to The Guardian, Tokyo’s Shibuya district pioneered the system in 2015,

and more than 200 local authorities in Japan have taken on recognizing same-sex

partnerships. Same-sex couples believe the more people use the partnership systems,

the more the LGBTQ+ community will be open to family and friends about their
relationships.” (Newsroom, 2022) Affirmely, we can assume that It became a melting pot

of subcultures and countercultural movements, attracting artists, performers, and

individuals seeking alternative lifestyles. This city plays a pivotal role in offering a space

for self expression, exploring the identities either complicit or non complicit, and

community structuralisation due to its tolerant body structure towards diverse carnal &

gender orientations. It offers an oasis to the one who faced discrimination and

marginalisation in fundamentalist society without fear, judgement and persecution.

In addition to this, the Shinjuku's nightlife scene was filmed during the 1970s and

1980s, with an array of entertainment options ranging from traditional cabarets to

avant-garde performances. This cultural richness and diversity feels engraved to

Shinjuku's reputation as an inclusive district, attracting both locals and tourists

interested in experiencing its heterogeneous offerings as per filmed in the frame

depicting a conversation of Gayaish and the customer girl who was smiling and talking

in erotical connotation.

In conclusion to this, according to Judy Butler in her Video lecture with Big Think,

she states that; “we can transform reality to be more open about gender subject to

choice with Just and stop violence against difference to stablise the performitivity of

gender of all kind. Freedom is a struggle…. If we desire to be loved and to walk free, we

have to struggle…. Equality, freedom and justice” (Butler, 8th June 2023) this film caters

these subjects especially freedom in the city lights of Shinjuku where gender is being

performed with freedom.

2. Gender Performance and Identity:

Judy Butler states;

“In other words, the “coherence” and “continuity” of “the person” are not logical or analytic
features of personhood, but, rather, socially instituted and maintained norms of intelligibility.”
(Butler, 1999, 23)

Through this statement we can make our understanding better how diversity in gender

navigates gender performance.

In this docu-film the protagonists in "Shinjuku Boys" navigate gender

performance and identity in a complex manner, particularly within the context of their

work as hosts at the "New Marilyn" bar. By examining Shinjuku Boys, their actions as

host involves performance based on gender roles and peronas on the floor or stage,

predominantly adopting the feminine representations as Onnagata to entertain their

female Clientele. These performances aren’t merely an imitation but a conscious

enactment of cultural codes and symbols associated with femininity, blurring the

distinctions between male and female gender and getting more involved into

transsexuality eitherway Lesbian or gay performance by Kumi (Unabe) with girl Kaytzu

who identified as male gender which I would say as this is what I understood in frame

30:38 onward 33:23 minutes of the film. But It’s sexless purely gender based, sharing

comforting company as daily life performative activity.

Coming to the next frames of the film, where the on stage performers hold their

character off the stage and wear that identity as a statement. This dual identity

emphasises on the fluidity and multiplicity of their expressions and challenges binary

notions to reshape their identity. Whereas, societal forecasts play an important role in

influencing the construction of gender identity, both within their professional lives and

personal relationships. The pressure to weave their traditional persona within their

absolute truths is obvious as they must balance their onstage act with their offstage
personas. The tensions between their performances and authenticity reflects their

broader societal dynamics i.e. dictates how to perform gender with their individuality in

every single situation. This idea can be explain more clearly where the Unabe girl

explaining her mother about her’s gender fluidity and vibrant relationship with Kami or

when she was discribing about her sexuality and her satisfaction with relaitivity of

gender. Here in that film part, a mother who is listening and who trying to act as normal

yet ready to accept this difference feels to share comfort to talk to her child without

performative gender role.

Furthermore, the film explores the filmmakers portrayal of personal relationships

of these onabes and tasu’s, and the impact of societal expectations on their intimate

lives along with the challenges they face in forming and maintaining relationships

outside of their professional roles. [example: the phone call of client in 5:54 minutes, call

mother 45:49 minutes]

3. Intersectionality and Identity Politics:

The exploration of intersectionality in "Shinjuku Boys" reveals the multifaceted nature

of identity formation and expression, considering various factors such as gender

identity, sexual orientation, classifications, racial factors, socioeconomic status, and

ethinic background.

Gender Identity and Sexual Orientation:

The three characters in the film as hosts deal with the intricate overlap of their gender

identity and sexual orientation. Being onnagata (female impersonators) who mainly

portray feminine roles, they defy conventional ideas about gender and sexuality. Their

experiences underscore the varied and flexible nature of LGBTQ+ identities, revealing
how their sense of self and interactions with others are shaped by the way they express

their gender and sexual orientation. We clearly can examine the frames in which Kami

and Kaytzu talks about their comfort zone for each other which was about their gender

role for eachother rather conjugal connotations.

Class and Socioeconomic Status:

The film subtly suggests the socioeconomic status of the living being who are part of

the film or may be not yet passive actors in out of the box. They earn a living by working

at a bar in Shinjuku city. Their roles as hosts intertwine with their class and gender

identities, highlighting how their performances are crucial for their income. They have to

deal with multiple clients to cater their economic pressures which are a great help in

their larger prospects of decision making according to availability and limitation of

sources.

Race and Cultural Background:

While "Shinjuku Boys" primarily focuses on gender identity and performance, it

also alludes to the racial and cultural backgrounds of these characters. Their sentences

seems they are not belong to the well off family. They encounters their needs everyday

and get through it as if it’s their daily life. These overlapping aspects strik through their

rotuine how they engage with others, perceive themselves, and experience a sense of

belonging or exclusion.

4. Ethnographic Methods and Representation:

Documentary Filmmaking Techniques:

"Shinjuku Boys" utilises observational documentary techniques but in a curated

way by choosing editing methods what remains to be part of film and what not, to
involve the viewers in the lives of the Onabe/ Unabe at "New Marilyn." The film's

approach allows for a candid and intimate portrayal of the protagonists, capturing their

daily experiences, interactions, and struggles. The use of long takes and sort of

unscripted moments enhances the authenticity of the narrative, providing a nuanced

glimpse into the complexities of gender identity and performance.

However, it is essential to critically evaluate the representation depicted in the

film. Use of natural light in filming the daily routine has created the authencity and

naturality in the film as well as the structure of their struggles filmed as if this is not

happening behind the screen but it’s somewhere around the viewer is the clear process

of adapting the observational technique of the film.

Ethical Considerations:

Documenting the lives of Onabe or Lesbian Gay communities in "Shinjuku Boys"

raises “ethical considerations regarding consent, privacy, and cultural sensitivity”.

Filmmaker seemed to obtain informed consent from their subjects, ensuring they

understand the purpose and potential impact of the documentary. Respecting privacy

boundaries and avoiding intrusive or exploitative practices is essential to maintain trust

and integrity.

Cultural sensitivity is another key aspect, particularly when portraying aspects of

identity and community that may be misunderstood or misrepresented. In this film, we

clearly can examine through the actions of the real life onabes when they acting their

daily life roles either in the bar, with their community or with the clients.in response to

these roles, they are equally getting involvement by others like in the starters of film

scene, we see one of the onabe was telling about how he got comment on his
masculinity as “Tatso” which means dragon. associated with dragon symbolises the

gender’s activeness in sexual connotation. In other film scene, where the Onabe was

sitting and giving company to a client [girl] and she was offering her time and trying to

commit her life to onabe without knowing the truth about onabe or may be willing as she

must know in which bar she in entering into.

These kind of sensitivities are portraying the dense phenomenon of gender

performitivity but more about the observation technique of filming this sort of dynamic.

Role of the Filmmaker as Ethnographer:

The filmmaker in "Shinjuku Boys" serves as an ethnographer, documenting and

analysing the social and cultural differences within the context of the "New Marilyn" bar

Shinkuju city. The ideation of the film examines how these Shinkuju boys are struggling

with their emotional issue, economic issues, social issues as well as daily rotuine.

The filmmaker's reflexivity is crucial in accepting the tale on pin based on her

own biases, perspectives, and positionality in relation to the subjects. Reflecting on their

role and impact allows the filmmaker as well as viewer to go deep into ethical approach

of storytelling along with oceanic understanding of the complexities of identity, and

power dynamics.

For example, if we examine the starting part where Gaish is standing and

checking himself in front of mirror and the other friend talking about foundation on face

to wear a make up. In 2nd scene Kazuki wear a belt time all over his chest and says

“It’s very necessary for me” and next scene have talk of Gaish with barber who is

discussing about hormone injection and about the mistache along with hair growth, all

these scenes are discussing about the ethos of Shinkuju residents who are acting their
gender role with complexity of identity. Remain true to the essance of their daily rotuine

is what the film maker evaluate and wear that ethnographic role to create balance

between ethical sensitivit and reflexivity along with great responsibility. In this fillm, the

director needs much appreciation because she followed details as much as can carry in

the film along with taking responsibility of ethical sensitivity.

5. Comparative Analysis and Discussion:

Comparative Analysis in Shinjuku Boys and Transgender Narratives in Other Cultural

Contexts:

Cultural Context:

The experiences of the Onabes such as Gaish, Kazuku and Kami in "Shinjuku Boys"

reflects japanese cultural context where darts of gender and identity are influenced by

traditional norms. In contemporary time, these expressions are considered as modern

and sometimes unacceptable by the families in Japan [reference scene is the Mother

Day act in fillm]. In contrast to other cultural contexts, transgender narratives may vary

significantly based on sociological attitudes, constructed societal frameworks, and

cultural as well as religious beliefs regarding gender identity and expression.

Attitudes for Gender and Identity:

Cultural differences acts as significant tool in shaping attitudes towards gender and

identity. In western cultures, there seems to be greater acceptance and recognition of

diverse gender identities, while in pakistan or cuba or somewhere in bandladesh, rigid

gender binaries and norms can be observed easily, leading to stigma and discrimination

against transgender individuals. Or if we examine afghan societal norms, transexual

activities have much less traces then any other country of asia.
Media Representations:

Dr. Londa Schiebinger mentioned the politisised idea of nurturing and powering women

by assigning them Job Discriptions in her book ‘Gender in Making of modern science’

[Rutgers University Press 1993]. She states;

“The scientific fascination with the female breast helped to [reinforced] the sexual

division of labor in European society by emphasising how natural it was for females to

rear their own children”. By honoring the mammels as the highest class of animals

Linneaus assigned a new value to women: Unique role in reproduction” (Schiebinge,

1993, 64). Through this all examination, we can easily understand how women are

propagated for domestic roles in european society to nurture sons of the states only.

This is one piece of research about how european women evolved from assigned

domestic roles to gender role and futher moved to freedom which is still a subject.

Media includes, literature, journalism, art, theatre, religion used to be significant in

extensive gender role along with identity crisis but this all vary even 50 km distance.

May be Canada have different societal structure as compare to Danmark and Thailand

have different structure and acceptance in regards to gender and identity

representations. Due to media potrayal we can easily assume about one society how

they stigmatically stereotyped the transgenders in contrast to other state. Sometime, the

place doesnt matters but what matters is the dignity of transperson which would

compromised due to habitual taboos. This leads to harmful and misleading stereotypes

in one society.

This even more clearly can exemplified through one scene of this docu film Shinjuki

Boys, in which Kaytzu tells her’s story where she was angry to her sister as she told her
mother about marylin bars and how these are Badnam Zmana Galiyan or notorious

streets with gender flexibility and fluidity left both untied the relationship of mother and

daughter/ Onabe.

6. Personal Reflection and Conclusion:

Once trans influenser Alok Menon said; “we’ve ritualised human beings

becoming sculptures. We told that we have to be smooth. That any perforation on our

body is an embarrassment. We‘ve told to remove our personality. On the other side, we

become smooth surfaces but smooth surfaces together can’t make the friction to propel

a society forward…” (Menon, 2024)

One of late uncle had made a statement in childhood when I used to ask him why

there is eunich or transpeople come to home to have some food and they dance and

make funny faces, he used to answer: “humans are the flowers of a garden, each flower

is complex and unique and each flower grows with it’s own property. God created

Garden for Flowers and it’s our kind duty to become helping hand of each one of flower

so that in thunderstorm, Garden won’t destroy.” these words used to powerful until I got

the research about gender fluidity after watching great film “The Danish Girl”. In 2022,

Butler’s feminism theory crossed my way while I was so involved in semon de

bouveair’s philosophy titled “The Second Sex”.

Butler's concept of gender performativity posits that gender is not an inherent trait

but rather a social construct that is continually performed and reiterated through

repeated actions and behaviours. According to Butler:

“individuals enact gender through a series of performative acts that conform to

societal norms and expectations, thereby shaping their identities.” (Butler, J. 1990)
 So, does the Semon de Bouveair, the great philosopher who had opened the

door of debate on gender assigned by society. As she states:

“One is not born, but rather becomes, a woman.” (Bouveaire, S. 1949, p330)

So, society assigned each and every person an active role to structure a society.

Some, becomes sculpture of it and some rather explore their very own identity. This film,

‘Shinjuku Boys’ 1995 offers an insightful exploration of gender, construction of identity

and its formation in existent Japanese Society through the lens of a unique subculture.

The opening scene delves the cosmopolitan city of 7AM goes to the three individuals

working at Tokyo bar named as “New Marilyn” where they perform as Onnagata or a

female impersonators catering predominantly female clientele.

One of the main theme in the film is the complexity of gender identity. It challenges

traditional notions of binary gender roles how the performers nagotiate as both male

and female in documentary and to some extent, I felt confusion even with the names is

the person pronounced as He or She or they? This complexity remains in the whole

documentary. Whereas this docu also illustrates the individuale adaptation of musculin

and feminin personas either on stage or in regular time while maintaining their offset

identity. This raise a question about gender how it shaped to act in society for example

as a Boy or a Girl or mixture of both. Does these acts creates comfortable environment

with space and acceptance or tolerance create new social norms.

The three shinjuki boys acted as they believe to be and grappled with societal

expectations alongside expressing their desires as self expression to remain authentic

and true to their very own self. This exposure sheds light on imposed rigid boundaries in

cultural context with multiple or dual identity as complex performa. Such experiences
also looked as broader sense of acceptance, resilience in community as we clearly can

see the support mechanism in bar ‘new marilyn’ where despite facing challenges, they

all find safe space of acceptance among each others. This creates a very sense of

belonging for eachother.

Overall, "Shinjuku Boys" offers a nuanced and thought-provoking exploration of gender,

identity construction, and identity formation in contemporary Japanese society. It

challenges viewers to reconsider preconceived notions about gender and identity while

highlighting the resilience and agency of individuals navigating complex social

landscapes.

References

Butler, J. (Director). (8th June 2023). Berkely Professor explains gender theory [Film].

https://youtu.be/UD9IOllUR4k?si=3sk63--x6kFiY60-

Butler, M. E. P. o. R. J. P. (1999). Gender Trouble. Taylor & Francis Group. TFL2002

Menon, A. (2024). humans aren't made of stone.

https://www.instagram.com/reel/C42BZXtueXY/?igsh=MXY4b3M2bDhvbGwwZA

==

Newsroom, T. G. (2022, November 1). Tokyo issues long-awaited same-sex partnership

certificates. The Guardian. Retrieved March 27, 2024, from

https://www.theguardian.com/world/2022/nov/01/tokyo-issues-same-sex-partners

hip-certificates-amid-marriage-equality-debate

Schiebinge, D. L. (1993). Gender in Making of modern science. Rutgers University

Press. GeMMS1993
Staff, V. (2023, February 15). Tokyo's Shinjuku District Emerges as a Popular LGBTQ+

Destination. Vacationer Magazine. Retrieved March 27, 2024, from

https://www.vacationer.travel/tokyo-shinjuku-district-popular-lgbt-destination-2/

Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. New

York: Routledge.

Beauvoir, S. de. (1949). Chapt 1, “childhood”, The second sex. Vintage

Classics.