Memory, Guilt, and the Burden of the Past: A Comparative Study of Kazuo Ishiguro’s An Artist of the Floating World and the Film Rang De Basanti

 Paper 107 : The Twentieth Century Literature: From World War II to the End of the Century 

This blog is part of my assignment on Paper no : 107 and in this I'm going to deal with the topic ...

Memory, Guilt, and the Burden of the Past: A Comparative Study of Kazuo Ishiguro’s An Artist of the Floating World and the Film Rang De Basanti

Personal information 

Name :- Krupali Belam 

Batch :- M.A. Sem 2 (2024-2026)

Enrollment Number :- 5108240007

E-mail: krupalibelam1204@gmail.com 

Roll Number :- 13

Assignment details

Topic :- Memory, Guilt, and the Burden of the Past: A Comparative Study of Kazuo Ishiguro’s An Artist of the Floating World and the Film Rang De Basanti

Paper & subject code :- Paper 107 : The Twentieth Century Literature: From World War II to the End of the Century 

Submitted to :- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar

Date of Submission:- 17 April 2024

Table of Contents

•  Introduction
• Memory and Its Construction
• Generational Conflict and Ideological Evolution
• The Role of Art and the Artist
• National Identity and Historical Accountability
• Redemption and Moral Reckoning
• Comparative Aesthetics: Subtlety vs. Spectacle
• Conclusion: The Shared Burden of History
• References

1. Introduction

Kazuo Ishiguro’s An Artist of the Floating World (1986) and Rakeysh Omprakash Mehra’s Rang De Basanti (2006) both engage with themes of memory, guilt, and the burden of the past in complex ways, though their settings and cultural contexts differ significantly. Ishiguro’s novel centers on Masuji Ono, a retired artist who reflects on his role during Japan’s pre-World War II nationalist period. His journey involves grappling with personal memories, artistic responsibility, and the evolving societal values in post-war Japan. In contrast, Rang De Basanti examines the lives of modern-day Indian youth who, initially disillusioned by the apathy surrounding them, are compelled to confront their own nation’s history and the corruption in contemporary governance. Despite the temporal and cultural differences between these works, both explore how the weight of past actions influences personal identity, national consciousness, and moral reckoning.

The shared thematic exploration of memory and its effects on the self and society serves as the foundation for this comparative analysis. While Ishiguro’s novel delves deeply into the introspective nature of memory through its protagonist, Mehra’s film presents memory as a collective force that galvanizes social activism. The role of the artist, the conflict between generations, and the question of national identity and historical accountability are key areas of convergence between the two works. Through their respective mediums, the novel and the film bring forth critical reflections on how individuals and societies process their histories, and the moral and psychological burdens that follow.

This essay will examine the portrayal of memory in both An Artist of the Floating World and Rang De Basanti, comparing how each work explores generational conflict, ideological evolution, and the role of art. Additionally, it will analyze their treatment of national identity and historical accountability, the quest for redemption, and the contrasting aesthetic approaches to presenting these themes. In doing so, this study will demonstrate how both works engage with the broader implications of confronting the past in order to understand the present and shape the future.

2. Memory and Its Construction

Memory plays a central role in both An Artist of the Floating World and Rang De Basanti, albeit in different ways. In Ishiguro’s novel, memory is portrayed as subjective, selective, and often unreliable. The protagonist, Masuji Ono, frequently revisits his past, offering a personal narrative that blends both personal recollections and historical events. Ono’s memory is fragmented, and as the narrative unfolds, the reader learns that his recollections are not entirely accurate. He tends to omit or distort parts of his history, particularly regarding his role in Japan’s wartime propaganda machine. Ishiguro uses Ono’s selective memory to demonstrate how individuals, especially those complicit in past atrocities, often reshape their own histories to avoid confronting the guilt associated with their actions. The unreliability of memory is not merely a personal failing but a reflection of the broader societal struggle in post-war Japan to come to terms with its militaristic past.

In contrast, Rang De Basanti presents memory as a tool for collective identity formation. The film’s protagonists, a group of modern Indian youths, initially seem disconnected from their nation’s past. They are disillusioned with the political apathy and corruption that pervade contemporary India. However, their encounter with the historical stories of freedom fighters who sacrificed their lives for the country’s independence catalyzes a shift in their understanding of memory. The past is not only recalled but also reenacted, as the protagonists begin to see their own struggles mirrored in the lives of historical revolutionaries. Unlike Ono, who revises and suppresses his memories to escape guilt, the characters in Rang De Basanti are motivated by the desire to reclaim their national memory and honor the sacrifices made by those who came before them. The film shows that memory, when shared and actively engaged with, can serve as a source of empowerment and a catalyst for change.

Both works emphasize that memory is not a static entity. In An Artist of the Floating World, Ono’s struggle with his past highlights the tension between the past as a personal construct and the present as a collective reality. The selective nature of memory allows individuals to protect themselves from painful truths, yet this process of revisionism often leads to internal conflict and guilt. In Rang De Basanti, memory is portrayed as a dynamic force that evolves over time, shaping the identity of both individuals and communities. The protagonists’ transformation from apathy to activism underscores the power of memory to transcend the personal and become a collective driving force for societal change.

Both works ultimately suggest that memory is shaped not only by personal experiences but also by the collective context in which it is situated. Whether through the lens of individual guilt or collective activism, the construction of memory plays a vital role in the characters' understanding of themselves and their relationship to history.

3. Generational Conflict and Ideological Evolution

The theme of generational conflict is prominent in both An Artist of the Floating World and Rang De Basanti, with each work highlighting the tensions between the older and younger generations regarding ideological shifts and evolving national consciousness. In Ishiguro’s novel, Ono represents the older generation that lived through Japan’s imperialist expansion and the subsequent defeat in World War II. His generation is marked by a strong sense of national pride, which is later questioned in the post-war period. Ono's interactions with his daughter, Noriko, and her fiancé, Kuroda, underscore the ideological divide between the older and younger generations. Noriko, though respectful of her father, represents a new Japan that is coming to terms with its war history and its moral implications. Kuroda, a war veteran, views Ono with skepticism, unable to understand his role in the nationalistic fervor that led to Japan’s militaristic ambitions.

The generational divide in An Artist of the Floating World is not merely one of personal beliefs but also a reflection of Japan’s societal transformation. The younger generation, disillusioned by the war’s devastation, rejects the nationalist ideals that once defined their parents' generation. Ono’s personal crisis mirrors the nation’s struggle to redefine its identity in the aftermath of defeat. His attempts to reconcile his past actions with the shifting values of the post-war period reflect the broader societal conflict between the need to preserve tradition and the desire to forge a new, more responsible path forward.

In Rang De Basanti, the generational conflict is equally significant, though it plays out in a more overtly political context. The film’s protagonists are young college students who initially display little interest in the political and social issues plaguing India. They live in a world shaped by the legacy of their independence movement, yet they are largely indifferent to the sacrifices made by past freedom fighters. Their apathy is contrasted with the passionate activism of the historical figures they learn about. Through the characters’ gradual awakening to the importance of their nation’s history, the film highlights the disconnection between the younger generation and the ideals of the past. This disconnect is underscored by the protagonists’ frustration with the corruption and inefficiency of the contemporary political system, which they feel betrays the values of the freedom fighters.

As the characters begin to engage with their country’s history, their ideological evolution mirrors that of the nation itself. The shift from indifference to activism in Rang De Basanti reflects a broader societal need for political and social change. The film suggests that while the younger generation may initially seem disconnected from the past, their evolving understanding of history and their role within it becomes crucial for the renewal of national consciousness. This transformation is not just about reclaiming a national memory but also about taking responsibility for shaping the future.

Both works ultimately suggest that generational conflict is an inevitable aspect of societal evolution. In An Artist of the Floating World, the tension between the older and younger generations is rooted in differing views on national pride, historical responsibility, and the moral implications of the past. In Rang De Basanti, the generational conflict takes on a more active form, as the younger generation learns to take ownership of its historical legacy and confront the challenges of the present.

4. The Role of Art and the Artist

In both An Artist of the Floating World and Rang De Basanti, art and the artist play critical roles in shaping the relationship between the past and the present. Ishiguro’s novel uses art as a lens through which Ono examines his own complicity in Japan’s imperialist endeavors. Ono is a former artist whose work was once commissioned by the government to promote nationalistic ideals. His art, initially celebrated for its beauty and cultural significance, becomes a source of personal guilt as Ono reflects on how it was used to support a militaristic agenda. Art, in this context, is not merely a personal expression but a powerful tool that shapes public opinion and supports political ideologies. Ono’s struggle with his past is deeply intertwined with his role as an artist, and his journey of self-reckoning involves coming to terms with the ethical implications of his work.

In Rang De Basanti, the role of art is similarly significant, though it is portrayed in a more overtly political context. The film presents a modern-day interpretation of history, where the protagonists engage with the stories of freedom fighters through the medium of film. The making of the film within the film serves as a way for the characters to connect with the past and reclaim their national memory. Art, in this case, is both a form of education and a means of political expression. The protagonists use the medium of film to dramatize the lives of historical figures, thus reimagining their actions and making them relevant to contemporary struggles. The film underscores the power of art to shape public consciousness and mobilize individuals toward collective action.

Both works highlight the moral and ethical responsibilities of the artist. In Ishiguro’s novel, Ono’s guilt stems from his role in using art to propagate a political agenda that he now recognizes as deeply flawed. The artist, in this sense, cannot escape the moral consequences of their work, especially when it is used for political or ideological purposes. In Rang De Basanti, the characters’ use of art is more proactive; they use the medium of film to challenge the status quo and expose the corruption of contemporary society. The film suggests that art can be a powerful tool for change, but it also comes with the responsibility to address the social and political realities of the present.

Both works ultimately suggest that art is a double-edged sword. It has the potential to inspire, educate, and challenge societal norms, but it also carries with it the moral weight of its consequences. The artist, whether complicit in past wrongs or engaged in present-day activism, must reckon with the impact of their work on both themselves and the world around them.

5. National Identity and Historical Accountability

National identity is another key theme explored in both An Artist of the Floating World and Rang De Basanti. In Ishiguro’s novel, the tension between personal and national identity is central to Ono’s internal conflict. Ono’s pride in his artistic achievements and his role in promoting Japan’s nationalistic ideals are shattered in the aftermath of World War II. The defeat of Japan and the subsequent occupation by Allied forces force a reevaluation of national identity. Ono’s struggle to maintain his sense of self in the face of national disgrace reflects the broader societal challenge of reconciling the past with the new realities of post-war Japan. His journey is marked by a gradual recognition that national pride cannot be sustained without confronting the darker aspects of history.

Similarly, Rang De Basanti grapples with issues of national identity, but in a contemporary context. The film critiques the post-independence Indian state, where corruption, inefficiency, and the neglect of historical memory have led to a crisis of national identity. The protagonists’ journey of rediscovering the legacy of India’s freedom fighters serves as a way of reconnecting with the ideals of the nation’s founding. The film suggests that understanding the nation’s history, including its struggles for independence and its challenges in the post-colonial period, is crucial for reclaiming a meaningful national identity. The protagonists’ transformation from apathetic youth to passionate activists mirrors the process of rediscovering and reconstructing national identity in the face of political disillusionment.

In both works, historical accountability is tied to the recognition of past mistakes and the willingness to confront them. In An Artist of the Floating World, Ono’s guilt reflects a broader societal struggle to come to terms with Japan’s wartime actions. Similarly, in Rang De Basanti, the protagonists’ activism challenges the contemporary political system, demanding accountability for the failings of the government. Both works ultimately suggest that national identity cannot be sustained without confronting the sins of the past and working toward a more just future.

6. Redemption and Moral Reckoning

The theme of redemption is explored in both An Artist of the Floating World and Rang De Basanti, though it is presented in different ways. In Ishiguro’s novel, Ono’s journey is one of personal moral reckoning. He spends much of the novel trying to justify his past actions, but as he recalls his involvement in wartime propaganda, he begins to realize the extent of his complicity in the nationalistic fervor that led to Japan’s imperial expansion. Redemption, for Ono, is not a straightforward process. It is marked by moments of self-deception, guilt, and a gradual understanding that moral absolution is not easily attained. His struggle is both personal and symbolic, representing Japan’s broader search for reconciliation with its wartime past.

In Rang De Basanti, redemption comes through collective action. The protagonists, who initially feel disconnected from their country’s history and apathetic about its political problems, are transformed through their engagement with the past. Their decision to take direct action against corruption and injustice represents a moral reckoning. The film suggests that redemption is not simply about personal atonement but also about societal responsibility. The characters seek to right the wrongs of the present by confronting the political system that they perceive as betraying the ideals of the nation’s founding.

Both works ultimately suggest that redemption is not a simple or individual process. In An Artist of the Floating World, Ono’s redemption is introspective and elusive, requiring him to come to terms with his complicity in the past. In Rang De Basanti, redemption is more collective, achieved through action and the pursuit of justice. Both works, however, highlight the difficulty of achieving redemption, as it requires a confrontation with uncomfortable truths and a commitment to moral responsibility.

7 . Comparative Aesthetics: Subtlety vs. Spectacle

Kazuo Ishiguro’s An Artist of the Floating World and the film Rang De Basanti diverge sharply in their aesthetic strategies, reflecting their respective cultural contexts and narrative aims. Ishiguro’s novel is marked by a quiet, reflective subtlety. Its first-person narration is introspective and measured, unfolding through fragmented memories and understated revelations. The tone is restrained, almost minimalistic, where meaning often lies in what is left unsaid. The silences, the hesitations, and the shifting recollections of the protagonist Ono invite the reader to question the reliability of memory and the ethical responsibility of the narrator. This aesthetic of subtlety mirrors the inner turmoil and guilt of a man haunted by his past in post-war Japan.

In contrast, Rang De Basanti embraces the aesthetic of spectacle to deliver its message of political awakening and generational change. The film uses vibrant cinematography, a powerful musical score, flashbacks to the colonial past, and emotionally intense performances to create an immediate emotional impact. It juxtaposes contemporary disillusionment with historical rebellion through dramatic narrative shifts, blending realism with stylized montage sequences. The transition from a carefree college narrative to a tragic political resistance underscores the power of visual and emotional spectacle. Here, art is loud, dynamic, and emotionally charged—a tool to inspire, provoke, and mobilize.

These differing aesthetic approaches speak to the broader cultural and generational contexts from which the two works emerge. Ishiguro’s subtlety reflects a post-war Japanese sensibility grappling with shame, memory, and silence, while Rang De Basanti’s spectacle speaks to a younger Indian generation demanding accountability and change in a post-colonial democracy. Both aesthetics are valid and powerful in their own right: one evokes empathy through quiet reflection; the other demands action through emotional urgency. Together, they illustrate the range of artistic responses to historical trauma and national reckoning, reminding us that art’s form whether subtle or spectacular is inseparable from its social and historical purpose.

8. Conclusion: The Shared Burden of History

Both An Artist of the Floating World and Rang De Basanti articulate the inescapable weight of historical responsibility, albeit through different cultural and aesthetic lenses. Whether it is Ono’s quiet grappling with the role he played in wartime propaganda or the young Indian protagonists' realization of their complicity in political apathy, both narratives present history not as a distant backdrop but as a living, breathing force that shapes identities, relationships, and moral choices. This shared burden is not merely personal but generational, influencing how individuals locate themselves within larger national narratives and reckon with inherited legacies.

What binds the two works most powerfully is their exploration of moral awakening how individuals confront the dissonance between past ideals and present realities. In An Artist of the Floating World, this awakening is slow, ambiguous, and riddled with self-doubt. Ono is never fully absolved, and neither is he fully condemned, which reflects the complexity of personal guilt in a post-war context. On the other hand, Rang De Basanti presents a much more urgent and radical moral reckoning, culminating in violent action and sacrifice. Yet, both works arrive at a similar conclusion: silence and inaction in the face of injustice, whether past or present, are forms of complicity.

References 

Henderson, Carol E. “FREEDOM TO SELF-CREATE: IDENTITY AND THE POLITICS OF MOVEMENT IN CONTEMPORARY AFRICAN AMERICAN FICTION.” Modern Fiction Studies, vol. 46, no. 4, 2000, pp. 998–1003. JSTOR, http://www.jstor.org/stable/26286181. Accessed 15 Apr. 2025.

Ishiguro, Kazuo. An Artist of the Floating World

Menon, Nivedita. “Youth and Nation in Indian Cinema: Rang De Basanti and the Aesthetics of Resistance.” South Asian Popular Culture, vol. 6, no. 2, 2008, pp. 109–123.

MOFFAT, CHRIS. “Politics and the Work of the Dead in Modern India.” Comparative Studies in Society and History, vol. 60, no. 1, 2018, pp. 178–211. JSTOR, https://www.jstor.org/stable/26795835. Accessed 16 Apr. 2025.

Rang de Basanti. Rakeysh Omprakash Mehra, UTV motion pictures, 2006.