Ozu international : essays on the global influences of a Japanese auteur

著者

書誌事項

Ozu international : essays on the global influences of a Japanese auteur

edited by Wayne Stein and Marc DiPaolo

Bloomsbury, 2016, c2015

  • : pb

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注記

"First published 2015. Paperback edition first published 2016" -- T.p. verso

Includes bibliographical references and index

内容説明・目次

内容説明

In Japan and much of Europe, Ozu is widely considered to be one of the finest film directors who ever lived. While Ozu has a strong reputation in the West, his films are not as well-known or widely appreciated in the U.S. as they are elsewhere. A notable exception to this trend is film critic Roger Ebert, who recently wrote that Ozu is one of his "three or four" favorite directors. Also, moving beyond the view that Tokyo Story is a masterful exception in the Ozu canon, Ebert sees Ozu's films as "nearly always of the same high quality." Ozu International will reflect on Ebert's view of Ozu by arguing that this director deserves broader recognition in the U.S., and that his entire canon is worthy of serious study. With the recent release of more than 15 Ozu DVDs in the Criterion Collection, covering every phase of his career at least in part (including silent films, black-and-white talkies, and color films), Ozu International helps to fill a lingering gap in English-language scholarship on Ozu by giving this new generation of scholars a book-length forum to explore new critical perspectives on an unfairly neglected director. Contributions include specialists in Japanese culture, academics from a range of disciplines, and professional films critics.

目次

Preface - Ozu, Ray Carney, and the Problem of Ethical Spectatorship Marc DiPaolo, Oklahoma City University, USA Acknowledgements Introduction Part I. Ozu in Cultural Context: Considering Class, Gender, and Domestic Spaces Chapter One. Tokyo is a Nice Place: The Suburban, the Urban, and the Space In-Between in Early Ozu John Berra, Nanjing University, China Chapter Two. Vanished Men, Complex Women: Gender, Remembrance, and Reform in Ozu's Postwar Films Mauricio Castro, Purdue University, USA Chapter Three. Tokyo Twilight: Alienation, Belonging and the Fractured Family Elyssa Faison, University of Oklahoma, USA Chapter Four. A Sensitivity to Things: mono no aware and Zen in Late Spring and Equinox Flower J. M. Hammond, University of London, UK Part II. Ozu's International Reception and Influences Chapter Five. Too Slow to Handle? Ozu, Malick, and the Art-House Family Drama Isolde Vanhee, LUCA School of Arts, Belgium Chapter Six. Good Morning: The Limits of Cinema and the Issue of Order Suzanne Beth, University of Montreal, Canada Chapter Seven. In Yoko's Room: Hou, Ozu, and the Poetics of Space Tom Paulus, University of Antwerp, Belgium Chapter Eight. The Representation of Time as Death: Authentic Being in Tokyo Story and Last Year at Marienbad Jack Lichten, Sophia University, Japan Afterword - The Samsara of Ozu Cinema:Death and Rebirth in our Daily Struggles Wayne Stein, University of Central Oklahoma, USA About the Contributors Index A Mantra of Liberation

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