Supply-Side Sushi: Commodity, Market, and the Global City
The first article, titled “Supply-Side Sushi: Commodity, Market, and the Global City” touches upon the topic of sushi globalization. Atlantic Bluefin Tuna has been solely focused on Japanese consumption because there is no market for Bluefin Tuna in North American waters. Bluefin Tuna were considered trophy fish or something people caught on accident when out fishing. It was not until cargo planes were built that the Atlantic Bluefin Tuna population in New England was commercialized. Since the cargo planes could fly long distances non-stop, it became possible to deliver fresh fish to different sides of the world. Today, the market in Japan is enormous for fresh tuna for sushi and sashimi and Japan has influenced the demand in other countries for fresh fish as well. Another factor that increased the exploitation of tuna in Japan is that during the 1960’s, refrigeration and advances in trucking allowed all of Japan to visit Tokyo. The fresh fish market in Tokyo, called Tsukiji, was able to control the market for fresh fish. Things that people had done to fish to make it last such as pickling it or heavily salting gave way to fresh, simple tastes. This is much like the film, where Jiro prepares his sushi in the simplest way possible and it still gives off amazing flavor. Even though all of these advances in technology helped the market in Japan 50 years, it is starting to dangerously hurt the population of Tuna in both Japanese seas and North American seas due to the huge demand of Tuna in the Japanese market.
Theodore C. Bestor
American Anthropologist
Wiley on behalf of the American Anthropological Association
Jiro Dreams of Sushi Dining Experience Still
In the second scene, the food critic Yamamoto has brought a group of guests to Sukiyabashi Jiro. Throughout the clip, jump cuts are made every time a new piece of sushi is laid on the black slate. Cuts are also made between Jiro’s expression and those that are dining in front of him. This displays his interest and concern in how his diners experience his food. Perspective shots also change between Jiro and his diners. One minute the camera is focused on Jiro from the diner’s perspective, another moment the camera is focused on the diners from Jiro’s perspective. This illustrates their impressions of him and his impressions of them. They are experiencing this three-course meal prepared by this silent, older looking man who stares them down as they eat. Meanwhile, he is reading their expressions to see what kind of response they have to his “concerto” or three-course meal. The camera keeps coming back to Jiro’s hands carefully and
precisely shaping the sushi. The close ups of the different pieces of sushi on the black slabs provide a great “portrait” of Jiro’s art. The colors of the fish and different seafood against the black background contrast nicely, showing the beautiful colors of the seafood and rice. These pieces of sushi all have a place in the concerto, they are an eight bar phrase or a soaring melody. Throughout the scene, extra diegetic classical music is being played to demonstrate the similarity between Jiro’s three-course meal and the different movements of a concerto. Just like Yamamoto says, Jiro’s meals consist of ebbs and flows, and different dynamics very similar to that of a symphony or concerto. All parts of concertos and symphonies are methodically practiced until the musician can generate the best sound possible even though they are always striving for something more than what they have or what they are. The same idea applies to Jiro; he constantly practices and prepares. He is always trying to invent new ways of making sushi and improving his recipes.
Film "Jiro Dreams of Sushi"
Magnolia Pictures
This image belongs to all studios and persons responsible for creating the film "Jiro Dreams of Sushi"
Jiro Dreams of Sushi Kitchen Experience Still
The kitchen staff/ apprentices of Sukiyabashi Jiro
This still shows the apprentices and kitchen workers of Sukiyabashi Jiro as they prepare the ingredients and fish for that day's lunch and dinner. It is from the portion of the movie that discusses how Jiro is the maestro of an orchestra. This still shows all of his apprentices as working parts of that orchestra, each contributing to the overall performance.
"Jiro Dreams of Sushi"
Magnolia Pictures