Description

Book Synopsis
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

Trade Review
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.

Table of Contents
TABLE OF CONTENTS Acknowledgments Introduction Japanese Cinema and Its Multiple Perspectives Hideaki Fujiki (Nagoya University, Japan) and Alastair Phillips (University of Warwick, UK) Part One: Theories and Approaches 1. Early Cinema Difference, Definition and Japanese Film Studies Aaron Gerow (Yale University, USA) 2. Authorship Author, Sakka, Auteur Alex Jacoby (Oxford Brookes University, UK) 3. Spectatorship The Spectator as Subject and Agent Hideaki Fujiki (Nagoya University, Japan) 4. Film Criticism Soviet Montage Theory and Japanese Film Criticism Naoki Yamamoto (University of California, Santa Barbara, USA) 5. Narrative Multi-viewpoint Narrative: From Rashomon (1950) to Confessions (2010) Kosuke Kinoshita (Gunma Prefectural Women’s University, Japan) 6. Gender and Sexuality Feminist Film Scholarships: Dialogue and Diversification Hikari Hori (Toyo University, Japan) Part Two: Institutions and Industry 7. The Studio System The Japanese Studio System Revisited Hiroyuki Kitaura (Kaichi International University, Japan) 8. Exhibition Screening Spaces: A History of Japanese Film Exhibition Manabu Ueda (Kobe Gakuin University, Japan) 9. Censorship Censorship as Education: Film Violence and Ideology Rachael Hutchinson (University of Delaware, USA) 10. Technology Sound and Intermediality in 1930s Japanese Cinema Johan Nordström (Tsuru University, Japan) 11. Film Festivals Engasai Inside Out: Japanese Cinema and Film Festival Programming Ran Ma (Nagoya University, Japan) 12. Stardom Queer Resonance: The Stardom of Miwa Akihiro Yuka Kanno (Doshisha University, Japan) 13. Experimental Cinema Forms, Spaces and Networks: A History of Japanese Experimental Film Julian Ross (Leiden University, The Netherlands) 14. Transmedial Relations Manga at the Movies: Adaptation and Intertextuality Rayna Denison (University of East Anglia, UK) 15. The Archive Screening Locality: Japanese Home Movies and the Politics of Place Oliver Dew (UK) Part Three: Film Style 16. Cinematography The Trans-pacific Work of Japanese Cinematographers Daisuke Miyao (University of California, San Diego, USA) 17. Acting Spectral Bodies: Matsui Sumako and Tanaka Kinuyo in The Love of Sumako the Actress (1947) Chika Kinoshita (Kyoto University, Japan) 18. Set Design Colour and Excess in Undercurrent (1956) Fumiaki Itakura (Kobe University, Japan) 19. Music When the Music Exits the Screen: Sound and Image in Japanese Sword Fight Films Yuna Tasaka (Belgium) Part Four: Genre 20. Period Drama The Duplicitous Topos of Jidaigeki Philip Kaffen (The University of North Carolina at Charlotte, USA) 21. The Horror Film The Ghosts of Kaiki Eiga Michael E. Crandol (Leiden University, The Netherlands) 22. Anime Compositing and Switching: An Intermedial History of Japanese Anime Thomas Lamarre (McGill University, Canada) 23. Melodrama Melodrama, Modernity and Displacement: That Night’s Wife (1930) Ryoko Misono (with Hideaki Fujiki and Alastair Phillips) 24. The Musical Heibon and the Popular Song Film Michael Raine (Western University, Canada) 25. The Yakuza Film The Yakuza Film: A Genre ‘Endorsed by the People’ Jennifer Coates (University of Sheffield, UK) 26. Documentary ‘Filling Our Empty Hands’: Ogawa Productions and the Politics of Subjectivity Ayumi Hata (Japan) Part Five: Time and Spaces of Representation 27. Ecology Toxic Interdependencies: 3/11 Cinema Rachel DiNitto (University of Oregon, USA) 28. Rural Landscape The Cinematic Countryside in Japanese Wartime Filmmaking Sharon Hayashi (York University, Canada) 29. The Home Separations and Connections: The Cinematic Homes of the Showa 30s Woojeong Joo (Nagoya University, Japan) 30. The City Tokyo 1958 Alastair Phillips (University of Warwick, UK) Part Six: Social Contexts 31. Empire Cinematic Dualities: Shanghai Filmmaking in the Era of the Japanese Occupation Ni Yan (Japan Institute of Moving Image, Japan) 32. The Occupation Pedagogies of Modernity: CIE and USIS Films about the United Nations Yuka Tsuchiya (Kyoto University, Japan) 33. Social Protest Japanese Student Movement Cinema: A Dialogic Approach Masato Dogase (Nagoya University, Japan) 34. Minority Cultures Whose Song Is It? Korean and Women’s Voice in Oshima Nagisa's Sing a Song of Sex (1967) Mika Ko (Hosei University, Japan) 35. Globalisation Japanese Cultural Globalisation at the Margins Cobus van Staden (South African Institute of International Affairs, South Africa) Part Seven: Flows and Interactions 36. Japanese Cinema and its Post-Colonial Histories Technologies of Co-production: Japan in Asia and the Cold War Production of Regional Place Stephanie DeBoer (Indiana University, USA) 37. Japanese Cinema and Hollywood Frontiers of Nostalgia: The Japanese Western in the Postwar Era Hiroshi Kitamura (College of William and Mary, USA) 38. Japanese Cinema and its Peripheries Japan and Okinawa and the Politics of Exchange Andrew Dorman (UK) 39. Japanese Cinema and Europe A Constellation of Gazes: Europe and the Japanese Film Industry Yoshiharu Tezuka (Komazawa University, Japan) 40. Transnational Remakes and Adaptations Casablanca Karaoke: The Program Picture as Marginal Art in 1960s Japan Ryan Cook (Emory University, USA) Select Bibliography Index

The Japanese Cinema Book

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    A Paperback / softback by Hideaki Fujiki, Alastair Phillips

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      Publisher: Bloomsbury Publishing PLC
      Publication Date: 16/04/2020
      ISBN13: 9781844576784, 978-1844576784
      ISBN10: 1844576787
      Also in:
      Entertainment Film history, theory or criticism

      Description

      Book Synopsis
      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

      Trade Review
      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.

      Table of Contents
      TABLE OF CONTENTS Acknowledgments Introduction Japanese Cinema and Its Multiple Perspectives Hideaki Fujiki (Nagoya University, Japan) and Alastair Phillips (University of Warwick, UK) Part One: Theories and Approaches 1. Early Cinema Difference, Definition and Japanese Film Studies Aaron Gerow (Yale University, USA) 2. Authorship Author, Sakka, Auteur Alex Jacoby (Oxford Brookes University, UK) 3. Spectatorship The Spectator as Subject and Agent Hideaki Fujiki (Nagoya University, Japan) 4. Film Criticism Soviet Montage Theory and Japanese Film Criticism Naoki Yamamoto (University of California, Santa Barbara, USA) 5. Narrative Multi-viewpoint Narrative: From Rashomon (1950) to Confessions (2010) Kosuke Kinoshita (Gunma Prefectural Women’s University, Japan) 6. Gender and Sexuality Feminist Film Scholarships: Dialogue and Diversification Hikari Hori (Toyo University, Japan) Part Two: Institutions and Industry 7. The Studio System The Japanese Studio System Revisited Hiroyuki Kitaura (Kaichi International University, Japan) 8. Exhibition Screening Spaces: A History of Japanese Film Exhibition Manabu Ueda (Kobe Gakuin University, Japan) 9. Censorship Censorship as Education: Film Violence and Ideology Rachael Hutchinson (University of Delaware, USA) 10. Technology Sound and Intermediality in 1930s Japanese Cinema Johan Nordström (Tsuru University, Japan) 11. Film Festivals Engasai Inside Out: Japanese Cinema and Film Festival Programming Ran Ma (Nagoya University, Japan) 12. Stardom Queer Resonance: The Stardom of Miwa Akihiro Yuka Kanno (Doshisha University, Japan) 13. Experimental Cinema Forms, Spaces and Networks: A History of Japanese Experimental Film Julian Ross (Leiden University, The Netherlands) 14. Transmedial Relations Manga at the Movies: Adaptation and Intertextuality Rayna Denison (University of East Anglia, UK) 15. The Archive Screening Locality: Japanese Home Movies and the Politics of Place Oliver Dew (UK) Part Three: Film Style 16. Cinematography The Trans-pacific Work of Japanese Cinematographers Daisuke Miyao (University of California, San Diego, USA) 17. Acting Spectral Bodies: Matsui Sumako and Tanaka Kinuyo in The Love of Sumako the Actress (1947) Chika Kinoshita (Kyoto University, Japan) 18. Set Design Colour and Excess in Undercurrent (1956) Fumiaki Itakura (Kobe University, Japan) 19. Music When the Music Exits the Screen: Sound and Image in Japanese Sword Fight Films Yuna Tasaka (Belgium) Part Four: Genre 20. Period Drama The Duplicitous Topos of Jidaigeki Philip Kaffen (The University of North Carolina at Charlotte, USA) 21. The Horror Film The Ghosts of Kaiki Eiga Michael E. Crandol (Leiden University, The Netherlands) 22. Anime Compositing and Switching: An Intermedial History of Japanese Anime Thomas Lamarre (McGill University, Canada) 23. Melodrama Melodrama, Modernity and Displacement: That Night’s Wife (1930) Ryoko Misono (with Hideaki Fujiki and Alastair Phillips) 24. The Musical Heibon and the Popular Song Film Michael Raine (Western University, Canada) 25. The Yakuza Film The Yakuza Film: A Genre ‘Endorsed by the People’ Jennifer Coates (University of Sheffield, UK) 26. Documentary ‘Filling Our Empty Hands’: Ogawa Productions and the Politics of Subjectivity Ayumi Hata (Japan) Part Five: Time and Spaces of Representation 27. Ecology Toxic Interdependencies: 3/11 Cinema Rachel DiNitto (University of Oregon, USA) 28. Rural Landscape The Cinematic Countryside in Japanese Wartime Filmmaking Sharon Hayashi (York University, Canada) 29. The Home Separations and Connections: The Cinematic Homes of the Showa 30s Woojeong Joo (Nagoya University, Japan) 30. The City Tokyo 1958 Alastair Phillips (University of Warwick, UK) Part Six: Social Contexts 31. Empire Cinematic Dualities: Shanghai Filmmaking in the Era of the Japanese Occupation Ni Yan (Japan Institute of Moving Image, Japan) 32. The Occupation Pedagogies of Modernity: CIE and USIS Films about the United Nations Yuka Tsuchiya (Kyoto University, Japan) 33. Social Protest Japanese Student Movement Cinema: A Dialogic Approach Masato Dogase (Nagoya University, Japan) 34. Minority Cultures Whose Song Is It? Korean and Women’s Voice in Oshima Nagisa's Sing a Song of Sex (1967) Mika Ko (Hosei University, Japan) 35. Globalisation Japanese Cultural Globalisation at the Margins Cobus van Staden (South African Institute of International Affairs, South Africa) Part Seven: Flows and Interactions 36. Japanese Cinema and its Post-Colonial Histories Technologies of Co-production: Japan in Asia and the Cold War Production of Regional Place Stephanie DeBoer (Indiana University, USA) 37. Japanese Cinema and Hollywood Frontiers of Nostalgia: The Japanese Western in the Postwar Era Hiroshi Kitamura (College of William and Mary, USA) 38. Japanese Cinema and its Peripheries Japan and Okinawa and the Politics of Exchange Andrew Dorman (UK) 39. Japanese Cinema and Europe A Constellation of Gazes: Europe and the Japanese Film Industry Yoshiharu Tezuka (Komazawa University, Japan) 40. Transnational Remakes and Adaptations Casablanca Karaoke: The Program Picture as Marginal Art in 1960s Japan Ryan Cook (Emory University, USA) Select Bibliography Index

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