Art forms have, throughout centuries, served as mediums through which societies have investigated, reinforced, or challenged the cultural norms and traditions that they have established. During the dynastic periods of Chinese history, the philosophical teachings of Confucianism, Taoism, and Buddhism were frequently reflected in the country's literary works, which helped to shape the moral and social framework of the time. These compositions usually highlighted themes of loyalty, filial piety, and societal harmony, and as a result, they became instruments of both moral teaching and social commentary. In a similar vein, Japanese period cinema, and more specifically the genre known as Jidaige ki, offers a picture of the feudal times that is both stylish and critical. These films investigate the strict codes of bushido and the samurai mindset. Not only does art function as a reflection of cultural values across both traditions, but it also acts as a powerful forum for examining and reforming those values. They shed light on the complex dynamic that exists between modernity and tradition, thereby influencing and reflecting the dynamic cultural identities that are constantly emerging.

A significant portion of the literature produced during the Chinese dynasty was composed of poetry and prose, and it frequently echoed the concepts of Confucianism, which placed a high importance on the family, social hierarchy, and allegiance to the state. One of the Five Classics, "The Book of Songs" (Shijing), is a prime example of how literature formalized these conventions; it uses poetry to exemplify values like loyalty and filial devotion (Lewis 2001). Novels composed during the Ming and Qing periods expand upon these ideas, but they are often given in a more nuanced form in subsequent works. As an illustration, Cao Xueqin's "Dream of the Red Chamber" is a critique of societal expectations that is told through a narrative full of personal tragedies that reveal the human costs of inflexible social rules (Masaki 1962). The change in tone of the narrative highlights how Jidaige ki is able to simultaneously criticize and appreciate conventional conventions.

Jidaige ki cinema, on the other hand, frequently offers a more direct critique of society conventions and customs. This is a reflection of Japan's struggle to come to terms with its historical legacy after the war. The film "Seven Samurai," directed by Akira Kurosawa, for instance, depicts a society that is in a state of instability. In this film, samurai, who are typically seen as exemplary examples of morality, are instead shown to be fragile and flawed (Prince 1991). However, it is Masaki Kobayashi's "Harakiri" that delivers a searing indictment of Japan's feudal past. In the film, traditional samurai principles are subverted, and the film reveals the hollowness of bushido when it is confronted with human misery. The story, which is propelled by Hanshiro Tsugumo's pursuit of justice, emphasizes how the societal structures that are preserved by the samurai ethos frequently overlook the well-being of individuals, thereby revealing the hypocrisy that lies beneath the facade of honor (Masaki 1962). The change in tone of the narrative highlights how Jidaige ki is able to simultaneously criticize and appreciate conventional conventions.

It does this by revealing the weaknesses in the honor code that prized appearances over truth. Moreover, Japanese cinema, particularly Jidaigeki, more openly confronts the inadequacies of tradition, suggesting that the cultural aftermath of World War II created an environment that was more conducive to overt questioning (Richie, 2005; Mellen, 2019). This is in contrast to the practices of Chinese literature, which frequently cloaks its criticism in allegory.