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The Oxford Handbook of Japanese Cinema

ISBN : 9780190937355

Price(incl.tax): 
¥7,700
Author: 
Daisuke Miyao
Pages
498 Pages
Format
Paperback
Size
170 x 244 mm
Pub date
Jan 2019
Series
Oxford Handbooks
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  • Features twenty essays, all by leading researchers in the field, that provide the reader with a multifaceted single-volume account of Japanese cinema
  • Engages in debates about what Japanese cinema is, where Japanese cinema is, as well as what and where Japanese cinema studies is
  • Situates Japanese cinema within transnational film history and theory
  • Challenges the model of the master director

   
The reality of transnational innovation and dissemination of new technologies, including digital media, has yet to make a dent in the deep-seated culturalism that insists on reinscribing a divide between the West and Japan. The Oxford Handbook of Japanese Cinema aims to counter this trend toward dichotomizing the West and Japan and to challenge the pervasive culturalism of today's film and media studies.
    
Featuring twenty essays, each authored by a leading researcher in the field, this volume addresses productive debates about where Japanese cinema is and where Japanese cinema is going at the period of crisis of national boundary under globalization. It reevaluates the position of Japanese cinema within the discipline of cinema and media studies and beyond, and situates Japanese cinema within the broader fields of transnational film history. Likewise, it examines the materiality of Japanese cinema, scrutinizes cinema's relationship to other media, and identifies the specific practices of film production and reception. As a whole, the volume fosters a dialogue between Japanese scholars of Japanese cinema, film scholars of Japanese cinema based in Anglo-American and European countries, film scholars of non-Japanese cinema, film archivists, film critics, and filmmakers familiar with film scholarship.
     
A comprehensive volume that grasps Japanese cinema under the rubric of the global and also fills the gap between Japanese and non-Japanese film studies and between theories and practices, The Oxford Handbook of Japanese Cinema challenges and responds to the major developments underfoot in this rapidly changing field.

Index: 

Introduction
  
Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema Studies
Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film Studies (Eric Cazdyn)
Chapter 2: Triangulating Japanese Film Style (Ben Singer)
Chapter 3: Critical Reception: Historical Conceptions of Japanese Film Criticism (Aaron Gerow)
Chapter 4: Creating the Audience: Cinema as Popular Recreation and Social Education in Modern Japan (Hideaki Fujiki)

Part 2: What Is Japanese Cinema?: Japanese Cinema and the Transnational Network
Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine)
Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in Japanese Cinema (Chika Kinoshita)
Chapter 7 Nationalizing Madame Butterfly: The Formation of Female Stars in Japanese Cinema (Daisuke Miyao)
Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film Spectatorship, and the Formation of National Cinema in Korea under Japanese Colonial Rule (Dong Hoon Kim)
Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan, 1952-1962 (Hiroshi Kitamura)
Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung Lo)
Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia and Japan's Re-entrance to the Regional Film Industry in the 1950s (Sang Joon Lee)
Chapter 12 Yamagata - Asia - Europe: International Film Festival Short-Circuit (Abe Mark Nornes)

Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial Practices
Chapter 13 Nitrate Film Production in Japan: a Historical Background of the Early Days (Okada Hidenori - Translated by Ayako Saito)
Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa Shuhei)
Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis)
Chapter 16 Occupation and Memory: the Representation of Woman's Body in Postwar Japanese (Ayako Saito)
Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961) (Mitsuyo Wada-Marciano)
Chapter 18 By Other Hands: Environment and Apparatus in 1960s Intermedia (Myriam Sas)
Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas)
Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric Economy of World (Alexander Zahlten)

About the author: 

Edited by Daisuke Miyao, Hajime Mori Chair in Japanese Language and Literature, UC San Diego
  
Daisuke Miyao is Associate Professor of Japanese Film and Cinema Studies at the University of Oregon. He is the author of The Aesthetics of Shadow: Lighting and Japanese CinemaEiga wa neko dearu: Hajimete no cinema sutadizu [Cinema Is a Cat: Introduction to Cinema Studies], and Sessue Hayakawa: Silent Cinema and Transnational Stardom.
 
 

Contributors:
Eric Cazdyn 
is Professor of cultural and critical theory at the University of Toronto.
Hideaki Fujiki is Professor in cinema and Asian studies at Nagoya University, Japan.
Aaron Gerow is Professor in Japanese cinema at Yale University.
Shuhei Hosokawa is Professor at International Research Center for Japanese Studies (Kyoto).
Dong Hoon Kim is Assistant Professor of Korean Film and Literature at the University of Oregon.
Chika Kinoshita is Associate Professor of Film Studies at Tokyo Metropolitan University.
Hiroshi Kitamura is Associate Professor of History at the College of William and Mary.
Sangjoon Lee is Assistant Professor in the department of Screen Arts and Cultures and Asian Languages and Cultures at the University of Michigan, Ann Arbor.
Diane Wei Lewis is a JSPS postdoctoral fellow at the Institute of Language and Culture, Meiji Gakuin University, Tokyo.
Kwai-Cheung Lo is Professor in the Department of Humanities and Creative Writing, and Director of Creative and Professional Writing Program at Hong Kong Baptist University.
Daisuke Miyao is Associate Professor of Japanese film and cinema studies at the University of Oregon.
Abe Mark Nornes is Professor of Asian Cinema at the University of Michigan, Ann Arbor.
Hidenori Okada is Curator of National Film Center (NFC), the National Museum of Modern Art, Tokyo.
Michael Raine is Assistant Professor in Film Studies at Western University, Canada.
Carlos Rojas is Associate Professor of Chinese Cultural Studies, Women's Studies, and Arts of the Moving Image at Duke University.
Ayako Saito is Professor of the Department of Art Studies at Meiji Gakuin University.
Miryam Sas is Professor of Film & Media and Comparative Literature at the University of California, Berkeley.
Ben Singer is Professor of Film in the Department of Communication Arts at the University of Wisconsin - Madison.
Mitsuyo Wada-Marciano is Associate Professor of Film Studies in Carleton University (Canada).
Ichiro Yamamoto is Producer at Shochiku Co., Ltd. 
Alexander Zahlten is Assistant Professor at the Department of East Asian Languages and Civilizations, Harvard University.

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