The Japanese Cinema Book

by Hideaki Fujiki (Editor), Alastair Phillips (Editor)

Overview

The Japanese Cinema Book provides a new and comprehensive survey of one of the world's most fascinating and widely admired filmmaking regions. In terms of its historical coverage, broad thematic approach and the significant international range of its authors, it is the largest and most wide-ranging publication of its kind to date.
Ranging from renowned directors such as Akira Kurosawa to neglected popular genres such as the film musical and encompassing topics such as ecology, spectatorship, home-movies, colonial history and relations with Hollywood and Europe, The Japanese Cinema Book presents a set of new, and often surprising, perspectives on Japanese film.
With its plural range of interdisciplinary perspectives based on the expertise of established and emerging scholars and critics, The Japanese Cinema Book provides a groundbreaking picture of the different ways in which Japanese cinema may be understood as a local, regional, national, transnational and global phenomenon.
The book's innovative structure combines general surveys of a particular historical topic or critical approach with various micro-level case studies. It argues there is no single fixed Japanese cinema, but instead a fluid and varied field of Japanese filmmaking cultures that continue to exist in a dynamic relationship with other cinemas, media and regions.
The Japanese Cinema Book is divided into seven inter-related sections:
· Theories and Approaches
· * Institutions and Industry
· * Film Style
· * Genre
· * Times and Spaces of Representation
· * Social Contexts
· * Flows and Interactions

Product Details

ISBN-13:	9781844576784
Publisher:	Bloomsbury Academic
Publication date:	05/28/2020
Pages:	624
Product dimensions:	7.55(w) x 9.70(h) x 1.00(d)

About the Author

Hideaki Fujiki is Professor of Cinema Studies and Japanese Studies at Nagoya University, Japan. He is the author of Making Personas: Transnational Film Stardom in Modern Japan (2013).

Alastair Phillips is Professor of Film Studies at the University of Warwick, UK. He is the author of City of Darkness, City of Light: Émigré Filmmakers in Paris 1929-1939 and Rififi: A French Film Guide. He is the co-author of 100 Film Noirs (BFI Screen Guides) and the co-editor of Journeys of Desire: European Actors in Hollywood; Japanese Cinema: Texts and Contexts; A Companion to Jean Renoir and Paris in the Cinema: Beyond the Flaneur (2017). He is an editor of the journal Screen and serves on the Editorial Advisory Boards of The Journal of Japanese and Korean Cinema and the BFI Film Classics series.

Table of Contents

List of Illustrations ix

Notes on Contributors xiv

Acknowledgements xx

Introduction: Japanese cinema and its multiple perspectives Hideaki Fujiki Alastair Phillips 1

Part 1 Theories and Approches

1 Early cinema: Difference, definition and Japanese film studies Aaron Gerow 25

2 Authorship: Author, sakka, auteur Alexander Jacoby 38

3 Spectatorship: The spectator as subject and agent Hideaki Fujiki 53

4 Film criticism: Soviet montage theory and Japanese film criticism Naoki Yamamoto 68

5 Narrative: Multi-viewpoint narrative: From Rashomon (1950) to Confessions (2010) Kosuke Kinoshita 81

6 Gender and sexuality: Feminist film scholarships: Dialogue and diversification Hikari Hori 94

Part 2 Institutions and Industry

7 The studio system: The Japanese studio system revisited Hiroyuki Kitaura 109

8 Exhibition: Screening spaces: A history of Japanese film exhibition Manabu Ueda 126

9 Censorship: Censorship as education: Film violence and ideology Rachael Hutchinson 138

10 Technology: Sound and intermediality in 1930s Japanese cinema Johan Nordström 151

11 Film festivals: Eigasai inside out: Japanese cinema and film festival programming Ran Ma 164

12 Stardom: Queer resonance: The stardom of Miwa Akihiro Yuka Kanno 179

13 Experimental film: Forms, spaces and networks: A history of Japanese experimental film Julian Ross 192

14 Transmedial relations: Manga at the movies: Adaptation and intertextuality Rayna Denison 203

15 The archive: Screening locality: Japanese home movies and the politics of place Oliver Dew 214

Part 3 Film Style

16 Cinematography: The trans-Pacific work of Japanese cinematographers Daisuke Miyao 231

17 Acting: Spectral bodies: Matsui Sumako and Tanaka Kinuyo in The Love of Sumako the Actress (1947) Chika Kinoshita 243

18 Set design: Colour and excess in Undercurrent (1956) Fumiaki Itakura 259

19 Music: When the music exits the screen: Sound and image in Japanese sword-fight films Yuna Tasaka 269

Part 4 Genre

20 Jidaigeki: The duplicitous topos of jidaigeki Philip Kaffen 285

21 Horror: The ghosts of kaiki eiga Michael Crandol 298

22 Anime: Compositing and switching: An intermedial history of Japanese anime Thomas Lamarre 310

23 Melodrama: Melodrama, modernity and displacement: That Night's Wife (1930) Ryoko Misono Hideaki Fujiki Alastair Phillips 325

24 The musical: Heibon and the popular song film Michael Raine 335

25 The yakuza film: The yakuza film: A genre 'endorsed by the people' Jennifer Coates 348

26 Documentary: 'Filling our empty hands': Ogawa Productions and the politics of subjectivity Ayumi Hata 361

Part 5 Time and Spaces of Representation

27 Ecology: Toxic interdependencies: 3/11 cinema Rachel DiNitto 379

28 Rural landscape: The cinematic countryside in Japanese wartime film-making Sharon Hayashi 394

29 The home: Separations and connections: The cinematic homes of the Showa 30s Woojeong Joo 407

30 The city: Tokyo 1958 Alastair Phillips 419

Part 6 Social Contexts

31 Empire: Cinematic dualities: Shanghai film-making in the era of the Japanese Occupation Ni Yan 439

32 The Occupation: Pedagogies of modernity: CIE and USIS films about the United Nations Yuka Tsuchiya 453

33 Social protest: Japanese student movement cinema: A dialogic approach Masato Dogase 466

34 Minority cultures: Whose song is it? Korean and women's voice in Oshima Nagisa's Sing a Song of Sex (1967) Mika Ko 479

35 Globalisation: Japanese cultural globalisation at the margins Cobus van Staden 489

Part 7 Flows and Interactions

36 Japanese cinema and its postcolonial histories: Technologies of coproduction: Japan in Asia and the Cold War production of regional place Stephanie DeBoer 505

37 Japanese cinema and Hollywood: Frontiers of nostalgia: The Japanese Western and the postwar era Hiroshi Kitamura 518

38 Peripheries: Japan and Okinawa and the politics of exchange Andrew Dorman 530

39 Japanese cinema and Europe: A constellation of gazes: Europe and the Japanese film industry Yoshiharu Tezuka 541

40 Transnational remakes and adaptations: Casablanca karaoke: The program picture as marginal art in 1960s Japan Ryan Cook 556

Select Bibliography 567

Index 573

Editorial Reviews

I'd recommend most of this book to anyone, but two chapters in particular [about manga adaptations in Japanese cinema] will leap out at readers of this blog.” —All the Anime blog

“With its preponderance of Japanese authors and the impressive variety of approaches it models, this volume marks a new era in the study of Japanese cinema. It presents new spins on old topics, and opens up any number of new avenues of inquiry. I can think of no other book that reveals the sheer richness of Japanese cinema to this degree. The Japanese Cinema Book is, simply, superb.” —Markus Nornes, Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design, University of Michigan, USA

“Fujiki and Phillips' edited collection of wide-ranging essays represents a timely intervention into the field of Japanese cinema studies by a diverse group of international scholars. Its breadth and coverage will ensure it assumes a prominent position as a standard text within the field.” —Isolde Standish PhD Emeritus Reader in Film and Media Studies SOAS, University of London, UK.

From the Publisher