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"Gerow, Aaron"
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Measuring discursive influence across scholarship
Assessing scholarly influence is critical for understanding the collective system of scholarship and the history of academic inquiry. Influence is multifaceted, and citations reveal only part of it. Citation counts exhibit preferential attachment and follow a rigid “news cycle” that can miss sustained and indirect forms of influence. Building on dynamic topic models that track distributional shifts in discourse over time, we introduce a variant that incorporates features, such as authorship, affiliation, and publication venue, to assess how these contexts interact with content to shape future scholarship. We perform in-depth analyses on collections of physics research (500,000 abstracts; 102 years) and scholarship generally (JSTOR repository: 2 million full-text articles; 130 years). Our measure of document influence helps predict citations and shows how outcomes, such as winning a Nobel Prize or affiliation with a highly ranked institution, boost influence. Analysis of citations alongside discursive influence reveals that citations tend to credit authors who persist in their fields over time and discount credit for works that are influential over many topics or are “ahead of their time.” In this way, our measures provide a way to acknowledge diverse contributions that take longer and travel farther to achieve scholarly appreciation, enabling us to correct citation biases and enhance sensitivity to the full spectrum of scholarly impact.
Journal Article
Visions of Japanese Modernity
Japan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the Pure Film Movement, changed not only the way films were made, but also how they were conceived. Looking closely at the work of critics, theorists, intellectuals, benshi artists, educators, police, and censors, Gerow finds that this trend established a way of thinking about cinema that would reign in Japan for much of the twentieth century.
eBook
It's distributions all the way down!: Second order changes in statistical distributions also occur
The textual, big-data literature misses Bentley et al.’s message on distributions; it largely examines the first-order effects of how a single, signature distribution can predict population behaviour, neglecting second-order effects involving distributional shifts, either between signature distributions or within a given signature distribution. Indeed, Bentley et al. themselves under-emphasise the potential richness of the latter, within-distribution effects.
Journal Article
THE HOMELESSNESS OF STYLE AND THE PROBLEMS OF STUDYING MIIKE TAKASHI
First, let us review the themes of transnationality, homelessness and liminality that appear to crisscross [Miike Takashi]'s films, putting aside for now the question of whether they are \"deep\" or \"cosmetic.\" Miike's work is transnational, first because films like Rainy Dog (Gokudo kuroshakai- Rainy Dog, 1996), The Bird People of China (Chugoku no chojin, 1998), and The Guys from Paradise (Tengoku kara kita otokotachi, 2001) are largely filmed abroad, with Rainy Dog, for instance,...
Journal Article
From Misemono to Zigomar
It is one of the bitter tragedies of studying early Japanese film history that only a handful of films before the mid-1920s exist; there are simply not enough extant works to do justice to a history of Japanese film style before 1925. It is thus partly out of necessity that I construct in this chapter a discursive history of early cinema in Japan rather than analyzing many of the filmic texts themselves. But it is also a matter of choice. Remember that Michel Foucault, inThe Archaeology of Knowledge,argues: “What, in short, we wish to do is dispense with
Book Chapter
Inventing Television through Film
The standard narrative of television's appearance in the field of visual media in Japan is one example, operating through oppositions between new and old, small and large, private and public, and live and recorded. With some filmmakers like Hani Susumu, television was constructed in part to help formulate a new “New Wave” cinema. Television was identified as a competitor, the enemy, and movie executives did what they could to prevent the new medium from weakening the film business. The historical narrative of the film industry's aggression toward television should thus be refined to reflect a more complex relation. It is important to point out, however, that while Okada's theory of television tied difference to medium specificity, difference could also transcend media. Okada is just one example of the attraction television posed to New Wave filmmakers.
Book Chapter