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A companion to Japanese cinema
Go beyond Kurosawa and discover an up-to-date and rigorous examination of historical and modern Japanese cinema
In A Companion to Japanese Cinema, distinguished cinematic researcher David Desser deliversinsightfulnew material ona fascinating subject, ranging from the introduction and exploration of under-appreciated directors, like Uchida Tomu and Yoshimura Kozaburo, to an appreciation of the Golden Age of Japanese cinema from the point of view of little-known stars and genres of the 1950s.
This Companion includes new resources that deal in-depthwith the issue of gender in Japanese cinema, including a sustained analysis of Kawase Naomi, arguably the most important female director in Japanese film history.
Readers will appreciate the astute material on the connections and relationships that tie together Japanese television and cinema, with implications for understanding the modern state of Japanese film.The Companion concludes with a discussion of the Japanese media's response to the 3/11earthquake and tsunami that devastated the nation.The book also includes:
* A thorough introduction to the History, Ideology, and Aesthetics of Japanese cinema, including discussions of Kyoto as thecinematic center of Japan and the Pure Film Movement and modern Japanese film style
* An exploration ofthe background to the famous story ofTaki noShiraitoand thesignificant and underappreciated contributions of directorsUchidaTomu, as well as YoshimuraKozaburo
* A rigorous comparison of old and new Japanese cinema, including treatments of Ainu in documentary filmsand modernity in film exhibition
* Practical discussions of intermediality, includingtreatments of scriptwriting in the 1930sand the influence of film on Japanese television
Perfect forupper-level undergraduateand graduate students studying Japanese and Asian cinema, A Companion to Japanese Cinema is a must-read reference foranyone seeking an insightful and contemporary discussion of modern scholarshipin Japanese cinemain the 20th and 21st centuries.
eBook
Small cinemas in global markets
Small Cinemas in Global Markets addresses aspects such as identity, revisiting the past, internationalized genres, new forms of experimental cinema, markets and production, as well as technological developments of alternative small screens that open new perspectives into small cinema possibilities.
eBook
\After Life\: History, Memory, Trauma and the Transcendent
[...] the Japanese title, Wonderful Life, gives perhaps a better clue than does the Englishlanguage release title to the varied and multiple themes that Koreeda's deceptively simple drama wishes to tackle. Kurosawa's film is a moving study of a man who comes to learn the meaning of his life in a heroic act of perseverance, simply fighting the bureaucracy of the postwar civil service in order to have a swamp drained and a playground built on the site.
Journal Article
CRAZED HEAT
We might think of remakes as taking place along four axes. The two most familiar of these would be the remake within national circumstances, as for instance with Hollywood often remaking earlier American films, or the transnational remake, again with Hollywood frequently remaking foreign films. This is not to say that other cinemas do not remake their own films (Hong Kong is particularly prone to this), or that we cannot find transnational remakes across other national cinemas, for example from Korea to Japan, or to Bollywood from Hong Kong, and so on. Another, somewhat familiar, axis would be instances of
Book Chapter
Beyond Hypothermia
We should not be overly surprised that, given the long tradition of female warriors in Hong Kong martial arts cinema, we find modern-day women among the ranks of killers. Yet, given this very tradition, it is perhaps a bit surprising that we do not find more of them. In a global context we note that on a typical web-based fan site of the ‘The Top 100 Hitman/Assassin Films of All Time’, only thirteen movies feature women assassins and in a couple of them they are part of an ensemble.¹ However, we find enough of them spread throughout the modern-day filmic
Book Chapter
THE GUNMAN AND THE GUN
‘Nikkatsu Noir’ – there is something very provocative about this: the alliteration, the double consonants in ‘Nikkatsu’ and the invocation of ‘noir’, certainly the most evocative of all genre names. In packaging its Eclipse Series 17, for the first time Criterion – the estimable company that has revolutionised the field of DVD–Blu-ray distribution with its combination of scholarly subtance and first-rate transfers of usually non-mainstream movies – did not group the films by director. From Japan, Criterion had previously released ‘Late Ozu’, ‘Postwar Kurosawa’, ‘Silent Ozu’, ‘Kenji Mizoguchi’s Fallen Women’ and ‘Travels with Hiroshi Shimizu’. But ‘Nikkatsu Noir’ was
Book Chapter