"Films like Shoplifters and After the Storm have made Kore-eda Hirokazu one of the most acclaimed auteurs working today. Critics often see Kore-eda as a director steeped in the Japanese tradition defined by Yasujiråo Ozu. Marc Yamada, however, views Kore-eda's work in relation to the same socioeconomic concerns explored by other contemporary international filmmakers. Yamada reveals that a type of excess, not the minimalism associated with traditional aesthetics, defines Kore-eda's trademark humanism. This excess manifests in small moments when a desire for human connection exceeds the logic of the institutions and policies formed by the neoliberal values that have shaped modern-day Japan. As Yamada shows, Kore-eda captures the shared spaces formed by bodies that move, perform, and assemble in ways that express the humanistic impulse at the core of the filmmaker's expanding worldwide appeal"--
"Films like Shoplifters and After the Storm have made Kore-eda Hirokazu one of the most acclaimed auteurs working today. Critics often see Kore-eda as a director steeped in the Japanese tradition defined by Yasujiråo Ozu. Marc Yamada, however, views Kore-eda's work in relation to the same socioeconomic concerns explored by other contemporary international filmmakers. Yamada reveals that a type of excess, not the minimalism associated with traditional aesthetics, defines Kore-eda's trademark humanism. This excess manifests in small moments when a desire for human connection exceeds the logic of the institutions and policies formed by the neoliberal values that have shaped modern-day Japan. As Yamada shows, Kore-eda captures the shared spaces formed by bodies that move, perform, and assemble in ways that express the humanistic impulse at the core of the filmmaker's expanding worldwide appeal"--
Über den Autor
Marc Yamada is associate professor of Interdisciplinary Humanities at Brigham Young University. He is the author of Locating Heisei in Japanese Fiction and Film: The Historical Imagination of The Lost Decades.
Inhaltsverzeichnis
Acknowledgments
Shared Spaces of Filmmaking
Beyond Ozu and Loach: Kore-eda Hirokazu in Japanese and World Cinema
Nonorganized Labor and Shared Spaces of Collaboration in Kore-eda’s Early Documentaries
Grifter Families and Networks of Exchange in Shoplifters
Reimagining Masculine Bodies in Hana; Like Father, Like Son; and The Third Murder
Body Moving: The Dynamics of Placemaking in Our Little Sister, Still Walking, and After the Storm
Private and Public Bodies of Memory in After Life, The Truth, and Distance
Interviews with Kore-eda Hirokazu
Filmography
Bibliography
Index