Visions of Japanese modernity : articulations of cinema, nation, and spectatorship, 1895-1925
Author(s)
Bibliographic Information
Visions of Japanese modernity : articulations of cinema, nation, and spectatorship, 1895-1925
University of California Press, c2010
- : pbk
- : cloth
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Note
Bibliography: p. 289-301
Includes index
Description and Table of Contents
Description
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.
Table of Contents
Contents List of Illustrations Acknowledgments Introduction 1. The Motion Pictures as a Problem 2. Gonda Yasunosuke and the Promise of Film Study 3. Studying the Pure Film 4. The Subject of the Text: Benshi, Authors, and Industry 5. Managing the Internal Conclusion: Mixture, Hegemony, and Resistance Notes Selected Bibliography Index
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