20世纪90年代以来，日本进入经济大萧条时期，少子老龄化趋势日益严峻，种种家庭问题曝露在外；与此同时，日本电影则开启了独立制作的全盛时代，国际电影节再度将目光频繁投注于日本新锐影人身上——社会现实与电影产业两方面的变化令日本家庭情节剧电影呈现出种种新的色彩。2011年3·11东日本大地震发生后，日本经济、民生、官方话语、民众心理的改变亦深刻影响着日本电影创作，大批灾难题材电影随之诞生，其它题材的影片也时常携带3·11隐喻，家庭情节剧电影当然莫能例外。

本文以逾25部2011年以后上映的日本家庭情节剧电影为研究对象，综合运用电影社会学、电影类型等理论，讨论片中家庭危机的具体表现与解决模式，阐释它们与这一时期日本家庭制度、家庭问题、官方话语、民众心理之间的关系。正文共分为四章：

第一章采用电影史视野对二战后日本家庭情节剧电影的整体风格加以概述，并阐明东日本大地震对日本社会、日本电影的整体影响，从而划定较精确的研究坐标系。

第二章分析研究对象中家庭危机的具体呈现方式，探询其与日本社会变迁、家庭变化之间的关系。在现实问题层面，影片时常通过家长失格现象、青年蛰居现象、两性婚姻问题来展现家庭内部裂隙，通过灾难与疾病元素展现外部危机对家庭功能的冲击；在心理困境层面，诸多影片或者展现了无“他者”存在的伪亲密关系，或者展现了创伤在家庭中的代际间传递现象。

第三章主要使用安东尼·科恩等学者的共同体理论，讨论研究对象所提供的家庭危机处理模式。在修复原生家庭方面，影片主要采用覆盖重塑创伤体验等方式来处理角色的历史性创伤，通过召回前现代生活方式来应对结构性创伤；利用家庭责任的代际更替叙事来维系父权家长制，使用仪式性场景等元素完成重组家庭中的秩序重建。在建立新共同体方面，“无缘社会”语境与家庭经营体传统为不少影片的“拟家庭”叙事搭建了背景，此外，亦有少数影片试图建立“女性乌托邦”等共同体，这些共同体兼具建构意义与不稳定性。

第四章总结这些影片与日本现代家庭观念之间的关联。日本现代家庭观念作为明治政府的发明、现代化的产物，在后工业化社会语境下势必遭受种种挑战。因此，即便大多数2011年以来的日本家庭情节剧电影试图通过想象性解决式结局来化解家庭危机，也依旧难以维系现代家庭神话。在许多影片中，日本现代家庭观念已近乎于齐泽克所谓的“意识形态幻象”。

Since the 1990s, Japan has entered a period of economic depression, and the trend of fewer children aging has become increasingly serious, while at the same time, various family problems have come to light. During this period, Japanese cinema began its prosperous phase of independent production, and international film festivals once again turned their attention to new Japanese filmmakers. Changes in both social reality and the film industry have given Japanese family melodrama films a variety of new colors. After the Great East Japan Earthquake of March 11th, 2011, the changes in Japan's economy, people's livelihood, official discourse, and public psychology also has had a profound impact on the creation of Japanese films. A large number of disaster films have been born along with the event, and other films often carry the 3/11 metaphor, including family melodrama films.

Using more than 25 Japanese family melodrama films released after 2011 as research objects, this paper discusses the specific manifestations and resolution modes of family crises in these films, and explains their relationships with the Japanese family system, family problems, official discourse, and public psychology during this period, using film sociology and film genre theories. The main text is divided into four chapters:

The first chapter adopts a film historical perspective to provide an overview of the overall style of post-World War II Japanese family melodrama films and to clarify the overall impact of the Great East Japan Earthquake on Japanese society and Japanese movies, thereby delineating a  precise research coordinate system.

The second chapter analyzes the specific ways in which family crises are presented in the study subjects, and inquires into their relationship to the changes in Japanese Society and Family. On the level of real-life problems, the films often show the internal rift of the family through the phenomenon of parental disqualification, the phenomenon of youth hibernation and the problem of marriage, and presents the impact of external crisis on family functions through the elements of disaster and disease. On the level of psychological dilemmas, these films either show pseudo-intimate relationships without the presence of the "other", or they show the intergenerational transmission of trauma in the family.

The third chapter focuses on the family crisis management model offered by the research subjects, using the community theory of scholars such as Anthony Cohen. In terms of repairing the inherent family, the film deals with the historical trauma of the characters mainly by overlaying the reinvention of the traumatic experience, and cope with the structural trauma by recalling the pre-modern lifestyle; besides, most of films use the narrative of intergenerational change of family responsibilities to maintain patriarchal system, and use elements such as ritual scenes to complete the reconstruction of order in restructured families. In terms of building new communities, the context of the "unattached society" and the tradition of the family business set the context for many of the films' "quasi-family" narratives; In addition, there are a few films that try to establish communities such as "female utopias", which are both constructive and unstable.

The forth chapter summarizes the connections between these films and modern concept of family. As an invention of the Meiji government and a product of modernization, Japanese modern concept of family is bound to suffer various challenges in the context of post-industrial society. Therefore, even though most of the Japanese family melodrama films released after 2011 attempt to resolve family crises through imaginative resolution, they still fail to sustain the modern family myth.