The Japanese cinema book

Introduction = 1 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 = 25 Difference, Definition and Japanese Film Studies Aaron Gerow (Yale University, USA) 2. Authorship = 38 Author, Sakka, Auteur Alex Jacoby (Oxford Brookes University, UK) 3. Spectatorship = 53 The Spectator as Subject and Agent Hideaki Fujiki (Nagoya University, Japan) 4. Film Criticism = 68 Soviet Montage Theory and Japanese Film Criticism Naoki Yamamoto (University of California, Santa Barbara, USA) 5. Narrative = 81 Multi-viewpoint Narrative: From Rashomon (1950) to Confessions (2010) Kosuke Kinoshita (Gunma Prefectural Women's University, Japan) 6. Gender and Sexuality = 94 Feminist Film Scholarships: Dialogue and Diversification Hikari Hori (Toyo University, Japan) Part Two: Institutions and Industry 7. The Studio System = 109 The Japanese Studio System Revisited Hiroyuki Kitaura (Kaichi International University, Japan) 8. Exhibition = 126 Screening Spaces: A History of Japanese Film Exhibition Manabu Ueda (Kobe Gakuin University, Japan) 9. Censorship = 138 Censorship as Education: Film Violence and Ideology Rachael Hutchinson (University of Delaware, USA) 10. Technology = 151 Sound and Intermediality in 1930s Japanese Cinema Johan Nordström (Tsuru University, Japan) 11. Film Festivals = 164 Engasai Inside Out: Japanese Cinema and Film Festival Programming Ran Ma (Nagoya University, Japan) 12. Stardom = 179 Queer Resonance: The Stardom of Miwa Akihiro Yuka Kanno (Doshisha University, Japan) 13. Experimental Cinema = 192 Forms, Spaces and Networks: A History of Japanese Experimental Film Julian Ross (Leiden University, The Netherlands) 14. Transmedial Relations = 203 Manga at the Movies: Adaptation and Intertextuality Rayna Denison (University of East Anglia, UK) 15. The Archive = 214 Screening Locality: Japanese Home Movies and the Politics of Place Oliver Dew (UK) Part Three: Film Style 16. Cinematography = 231 The Trans-pacific Work of Japanese Cinematographers Daisuke Miyao (University of California, San Diego, USA) 17. Acting = 243 Spectral Bodies: Matsui Sumako and Tanaka Kinuyo in The Love of Sumako the Actress (1947) Chika Kinoshita (Kyoto University, Japan) 18. Set Design = 259 Colour and Excess in Undercurrent (1956) Fumiaki Itakura (Kobe University, Japan) 19. Music = 269 When the Music Exits the Screen: Sound and Image in Japanese Sword Fight Films Yuna Tasaka (Belgium) Part Four: Genre 20. Period Drama = 285 The Duplicitous Topos of Jidaigeki Philip Kaffen (The University of North Carolina at Charlotte, USA) 21. The Horror Film = 298 The Ghosts of Kaiki Eiga Michael E. Crandol (Leiden University, The Netherlands) 22. Anime = 310 Compositing and Switching: An Intermedial History of Japanese Anime Thomas Lamarre (McGill University, Canada) 23. Melodrama = 325 Melodrama, Modernity and Displacement: That Night's Wife (1930) Ryoko Misono (with Hideaki Fujiki and Alastair Phillips) 24. The Musical = 335 Heibon and the Popular Song Film Michael Raine (Western University, Canada) 25. The Yakuza Film = 348 The Yakuza Film: A Genre 'Endorsed by the People' Jennifer Coates (University of Sheffield, UK) 26. Documentary = 361 'Filling Our Empty Hands': Ogawa Productions and the Politics of Subjectivity Ayumi Hata (Japan) Part Five: Time and Spaces of Representation 27. Ecology = 379 Toxic Interdependencies: 3/11 Cinema Rachel DiNitto (University of Oregon, USA) 28. Rural Landscape = 394 The Cinematic Countryside in Japanese Wartime Filmmaking Sharon Hayashi (York University, Canada) 29. The Home = 407 Separations and Connections: The Cinematic Homes of the Showa 30s Woojeong Joo (Nagoya University, Japan) 30. The City = 419 Tokyo 1958 Alastair Phillips (University of Warwick, UK) Part Six: Social Contexts 31. Empire = 439 Cinematic Dualities: Shanghai Filmmaking in the Era of the Japanese Occupation Ni Yan (Japan Institute of Moving Image, Japan) 32. The Occupation = 453 Pedagogies of Modernity: CIE and USIS Films about the United Nations Yuka Tsuchiya (Kyoto University, Japan) 33. Social Protest = 466 Japanese Student Movement Cinema: A Dialogic Approach Masato Dogase (Nagoya University, Japan) 34. Minority Cultures = 479 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 = 489 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 = 505 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 = 518 Frontiers of Nostalgia: The Japanese Western in the Postwar Era Hiroshi Kitamura (College of William and Mary, USA) 38. Japanese Cinema and its Peripheries = 530 Japan and Okinawa and the Politics of Exchange Andrew Dorman (UK) 39. Japanese Cinema and Europe = 541 A Constellation of Gazes: Europe and the Japanese Film Industry Yoshiharu Tezuka (Komazawa University, Japan) 40. Transnational Remakes and Adaptations = 556 Casablanca Karaoke: The Program Picture as Marginal Art in 1960s Japan Ryan Cook (Emory University, USA) Select Bibliography = 567 Index = 573

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