四方田犬彦『日本映画史110年』(英訳)<br>What Is Japanese Cinema? : A History

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四方田犬彦『日本映画史110年』(英訳)
What Is Japanese Cinema? : A History

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  • 製本 Paperback:紙装版/ペーパーバック版/ページ数 228 p.
  • 言語 ENG,ENG
  • 商品コード 9780231191630
  • DDC分類 791.430952

Full Description


What might Godzilla and Kurosawa have in common? What, if anything, links Ozu's sparse portraits of domestic life and the colorful worlds of anime? In What Is Japanese Cinema? Yomota Inuhiko provides a concise and lively history of Japanese film that shows how cinema tells the story of Japan's modern age.Discussing popular works alongside auteurist masterpieces, Yomota considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in its historical, technological, and global contexts. Yomota shows how Japanese film has been shaped by traditonal art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry's rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Yomota provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography. An incisive and opinionated history, What Is Japanese Cinema? is essential reading for admirers and students of Japan's contributions to the world of film.

Table of Contents

Note on Names and Film Titles                      xiii
Preface to the English Translation xv
Introduction 1 (23)
The Characteristics of Japanese Cinema 2 (3)
Cinema as a Liminal Art 5 (2)
Masumura Yasuzo's Critique of Japanese 7 (2)
Film
Mixing with Neighboring Genres 9 (3)
Connections with Traditional Theater 12 (2)
The Origins of the Benshi 14 (2)
Cultural Hybridity 16 (3)
More Than One Wave 19 (3)
The Reappearance of Forgotten Memories 22 (2)
1 Motion Pictures: 1896-1918 24 (14)
The Arrival of Cinema 24 (2)
The First Footage Shot by a Japanese Person 26 (1)
Connections with Mass Theater 27 (2)
Issues of Nationalism 29 (2)
Makino Shozo: The First Director 31 (3)
The Establishment of Nikkatsu 34 (1)
The Significance of Benshi 35 (3)
2 The Rise of Silent Film: 1917-1930 38 (19)
The Pure Film Movement 38 (1)
The Birth of Film Journalism 39 (2)
The Arrival of Actresses 41 (4)
The Self-Consciousness ofJapanese Cinema 45 (1)
Shochilcu's ShOshimin Films 46 (1)
Reforms at Nikkatsu 47 (1)
Kinugasa Teinosuke Thrives 48 (2)
Constructing Jidaigeki 50 (4)
Tendency Films and Their Aftermath 54 (3)
3 The First Golden Age: 1927-1940 57 (15)
Initial Attempts at Talkies 57 (2)
Making Real Talkies 59 (2)
Gendaigeki with Topknots 61 (3)
Cosmopolitan Shochiku and Nativist Nikkatsu 64 (3)
The Expanding World of Mizoguchi Kenji 67 (2)
From PCL to Toho 69 (1)
Coproduction with Nazi Germany 70 (2)
4 Japanese Cinema During Wartime 72 (10)
Setting Up the Wartime System 72 (2)
The Characteristics ofJapanese War Films 74 (3)
Cinema and the "Overcoming 77 (1)
Modernity" Debate
The Disguise of Kamei Fumio 78 (1)
How Film Directors Responded to Wartime 79 (3)
5 Film Production in the Colonies and Occupied 82 (16)
Lands
The Film Industry in Taiwan 82 (2)
Films to Enlighten the Taiwanese Natives 84 (1)
Taiwanese Cinema After Liberation 85 (1)
The Film Industry in Korea 86 (1)
Korean Cinema's Golden Age 87 (1)
The Decline and Revival of Korean Film 88 (2)
Establishing Manchurian Cinema 90 (2)
The Emergence of Ri Koran 92 (2)
The End of Man'ei 94 (1)
Chinese Film Studios in Shanghai 95 (1)
Film Production in Southeast Asia 96 (2)
6 Japanese Cinema Under American Occupation: 98 (11)
1945-1952
Filmmakers at the End of the War 98 (1)
What Were Japanese Filmmakers Doing When the 99 (1)
War Ended?
Censorship Under the Occupation 99 (3)
Idea Films 102 (2)
The Problem of War Responsibility 104 (1)
What Kind of Films Did Individual Directors 105 (1)
Shoot During This Period?
The Rise of Kurosawa Akira 106 (3)
7 Toward a Second Golden Age: 1952-1960 109 (18)
The End of the Occupation System 109 (1)
Shifts in War Films 110 (2)
The Advance into International Film Festivals 112 (2)
A Boom in Independent Productions 114 (1)
Samurai and Kau at Toho 115 (4)
Daiei Mother Films and Mizoguchi Kenji 119 (2)
Shochiku Melodrama: Kinoshita and Ozu 121 (1)
Period Films at TM 122 (1)
Nikkatsu's Steady Advance 123 (4)
8 Upheaval Amid Steady Decline: 1961-1970 127 (21)
The Peak of the Studio System 127 (2)
A Colorful Variety of Films at Toho 129 (2)
Daiei's Star System 131 (1)
Ichikawa Kon and Masumura Yasuzd 132 (2)
The Shochiku Nouvelle Vague 134 (2)
Shochiku Turns Reactionary 136 (1)
Toei's Idealized Gangsters 137 (2)
Nikkatsu Borderless Action Film 139 (2)
Nikkatsu's Eccentric Geniuses 141 (2)
Independent Production and ATG 143 (1)
The King of Pink Film 144 (4)
9 Decline and Torpor: 1971-1980 148 (15)
Japanese Cinema During the Years of Lead 148 (2)
Nikkatsu Roman Porno 150 (2)
Youth Films at Nikkatsu 152 (1)
Toei: Without Honor or Humanity 153 (2)
Shochiku: The Empire of Yamada Yoji 155 (1)
Veteran Directors Depict Women 156 (2)
ATG as a Base for Protest 158 (2)
Two Documentary Filmmakers 160 (3)
10 The Collapse of the Studio System: 1981-1990 163 (11)
Major Studios in Distress 163 (2)
Changes to the System of Production, 165 (1)
Distribution, and Exhibition
New Directors with No Connection to the 166 (2)
Studio System
Return of the Directors of the 1960s 168 (2)
A Flood of New Directors 170 (4)
11 The Indies Start to Flourish: 1991-2000 174 (12)
The Collapse of the Cinematic Bubble 174 (2)
Increasing Internationalism 176 (2)
Fragmenting Production Companies 178 (1)
Encountering the Ethnic Other 179 (2)
Memory and Nostalgia 181 (2)
The Phenomenon of Kitano Takeshi 183 (3)
12 Within a Production Bubble: 2001-2011 186 (15)
Japanese Cinema Sinks 186 (2)
Changes in the Mode of Production 188 (2)
Melodrama and Historical Consciousness 190 (1)
Woman Directors Appear on a Mass Scale 191 (3)
The Rise of J-Horror 194 (2)
Exposing Hidden History 196 (5)
Notes 201 (14)
Index 215