The Lives of FTM People in Japan

Film/reading reaction essay, Set 5

Viktorie Hrabětová

Asian Studies Program

Kansai Gaidai University

Gender and Sexuality in Japan

Professor Jeffry T. Hester

December 7, 2022
 Everyone should have the same rights in their life no matter their race, sexuality or

gender. The fight for transgender rights is an on-going issue all over the world. And just like

in other countries, we can find a community of transgender folks. The movie Shinjuku Boys

(1995), directed by Jano Williams and Kim Longinotto, gives the viewers a look into the lives

of three transgender men, Gaish, Tatsu and Kazuki, working at a host club in Tokyo. And

even though they all do not identify with their assigned sex, visually present themselves as

men and have the same job, they all live different lives. We can see Tatsu taking hormones,

transitioning and living with his girlfriend and on the other hand we have Gaish, living a very

carefree life, without a committed relationship and slightly different approach to his gender

dysphoria. I think this offers the audience and interesting peek into the non-binary world.

However, as mentioned above, they all work at the same host club. Host club with

onabe hosts, meaning transgender men. Prior to watching this movie, I did not have much

knowledge regarding these establishments, therefore I am glad it provided me the opportunity

to get more familiar with the concept. It is very different from the host club shown in The

Great Happiness Space (2006), directed by Jake Clennell. From the film Shinjuku boys, it

seems that many of the customers are widows, housewives or working women, not involved

in similar kind of industry themselves. The impression I got, is that many of these women see

the onabe hosts more as companions rather than possible boyfriends, which I think is also

different from the traditional host clubs. Generally, the female customers seemed less

obsessive and possessive over their hosts. However, that might be because the host club is of

a different nature. Compared to the club in The Great Happiness Space, this host club

appeared to be way more sophisticated with less of a party atmosphere. There was less

excessive drinking, less shouting and screaming. And the hosts also seemed to have a

different approach to their customers. From the three men, only Gaish acted similarly to Issei

and the hosts from Café Rakkyo. On the other hand, Kazuki and Tatsu seemed to have

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somewhat settled down, as they were shown living with their loving partners. I find the

contrasts between the three of them, but also between the two host clubs very interesting. I

also got the impression, that many men in a regular style host club, mainly view the work in

such establishment as a better way to make bigger amounts of money than they would as

salarymen. However, men working as onabe hosts might not have a choice.

As Shu Min Yuen mentions in her article, many trans people face discrimination at

their workplace. Many of them make a choice to not come out, because they fear they might

lose their employment (2020, 88-90). She also writes about the distress female-to-male trans

people feel on daily basis at their workplace. Something as simple as going to the restroom,

can make them feel uneasy and cause anxiety. Same applies to group trips organized by their

company (2020, 95). Not to mention some FTM people might have problems simply finding

work, since they might look like a men, but all their legal documents will say otherwise. I

believe all these struggles must be the source of significant distress and anxiety. Therefore,

working at an host club might just be the right way to go. At such environment, they can truly

and fully express themselves and their identity, and they will not face the kind of

discrimination they might encounter at a regular daytime job. The onabe host club can be their

safe space. Similarly to the ofukais, that Yuen described in her article (2020). A place where

like-minded people can meet, talk about their experiences and simple be their true self. I think

both ofukais and these host clubs create an open community for FTM people, without any

prejudice. As Yuen writes “it is the ‘ordinary’ activities of drinking, making friends, seeking

partners, or sharing everyday experiences and anxieties that have most relevance to FTM

people” (2020, 95-96). Of course, when it comes to the host clubs, it is still their employment,

they have to work, and most of the customers are cisgender females, while the ofukais are

simply a free time activity. However, I would imagine that there is a strong sense of

community within the hosts working at the club, since they have similar experiences and

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feelings. And I think that is one of the most important things for FTM people. Find some

acknowledgement and understanding.

And the film actually displayed a nice moment of understanding. Kazuki opened up a

little bit about the relationship between him and his family, specifically mother and sister.

After five years of no contact, Kazuki decided to send flowers to his mom. Though, as he

said, he would like to come out to his mother, he said that he will do it eventually, but not

now. However, later in the movie the viewers can witness a phone call between the two of

them, where Kazuki comes out as transgender. At first his mother is very hesitant, calling his

work weird and repeatedly telling Kazuki to come home. Yet, as the phone call continues, she

ends up saying that everyone is different and that the most important thing for her, is that

Kazuki stays in touch. I think that was a very nice moment and I am glad it was captured in

the film. Sadly, not everyone is able to get this kind of treatment from their family members.

Gaish talks about the fact that he has always been alone. Saying that whenever he would come

to his parents, saying that he has a problem, they would change the subject. They would act

selfish and not listen to him and his issues. I found that very upsetting, unfortunately I fear

this is the reality for many FTM people. At the time of recording, it might have been even

more common than now. However, I can only hope nowadays, the situation is getting better,

and people are generally more accepting.

While discussing and reading about the issues transgender people face in Japan, one of

the most surprising things to me were the laws concerning the change of legal gender. Trans

people are not recognized by the state as the gender they identify with unless they undergo a

sex-reassigning surgery with complete sterilization. As Yuen mentions, these procedures only

support the binary views of gender (2020, 89). Not only that, as mentioned in the video by the

Human Rights Watch, basically forcing people into surgery is a human right’s violation

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(2019). We have reached the point, when the western world is trying to abolish the gender

binary, I can only hope Japan will eventually start moving in the same direction.

In conclusion, I think the movie offers a very valuable insight into the lives of female-

to-male people. Even though it is a bit outdated by now, I think the feelings, emotions,

experiences, and search for their identity will be similar and relatable even to trans people

watching it nowadays. And while trans people can relate, cisgender people are given the

opportunity to learn and understand better what these people go through. Another thing I

enjoyed about the movie was seeing the different dynamics and contrasts. Meaning contrasts

in personality, approach of the hosts towards the customers, their personal relationships,

family dynamics and approach towards their gender identity. I think that way, the film makers

nicely captured the diversity of the community.

(Word count: 1282)

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References:

Clennell, Jake (Director). (2006). The Great Happiness Space. [Film]. Toronto: Mongrel

Media.

Human Rights Watch. Compelled Sterilization of Transgender People (2019). [Video].

Longinotto, Kim and Jano Williams (Directors). (1995). Shinjuku Boys. [Film]. London:

Vixen Films.

Yuen, S. M. (2020). Unqueer queers: Drinking parties and negotiations of cultural

citizenship by female-to-male trans people in Japan. Asian Anthropology: 19 (2): 86-101.