The main preserving commodity since long of the Japanese filmmakers is the samurai which is not only sold in domestic market of Japan but also out of Japan. ‘Jidaigeki’ is an authentic signature genre in Japanese movie industry but still it is culturally decentred. It is not a genre beyond Hollywood due to its cultural specificity (Lee, 2002). It is used as a symbol of Japanese authenticity through wider commoditization in foreign markets. For communicating the Japanese culture through a monolithic representation the temporal distance of past is used which has its encounters with industrialization (Huat, 2004). The connotative aesthetic identities of films of feudal samurai in cinematic domain have traceable cultural specificity in it. Thus the filmmakers through narrative and formal conventions of Jidaigeki have to subvert the conventions or should produce the films with wide appeal.
The film industry of Japan is using advanced technology in their presentations that reflects the Japanese culture and national identity. Representation of beauty in Japanese cinema had become naturalized within the transnational history of cinema in Japan. The significant roles in Japanese distinguished styles helps in formulation of new Japanese tradition based on coherent culture which is different from the films produced in America and Europe. The use of lighting technology in Japanese cinemas is the result of the conflicts that are structures of modernity in Japan that includes capitalist transitions in the Japanese cinemas through the articulated Japanese culture and national identity, due to which subjectivity has been increased in individuals. For effective production of films in Japan, the element of film lighting must be well understudied and it even needs essential collaboration of cinematographers and lighting designers.