Hideaki Fujiki is Professor of Cinema Studies and Japanese Studies at Nagoya University, Japan. He is the author of Making Personas: Transnational Film Stardom in Modern Japan and his essays have appeared in Stephanie Dennison and Song Hwee Lim (eds.) Remapping World Cinema: Identity, Culture and Politics in Film, Cinema Journal, Japan Forum, Review of Japanese Culture and Society, and Iconics, and he has contributed to the Oxford Handbook of Japanese Cinema.

Alastair Phillips is Professor of Film Studies at the University of Warwick, UK. He is the author of City of Darkness, City of Light: Émigré Filmmakers in Paris 1929-1939 and Rififi: A French Film Guide. He is the co-author of 100 Film Noirs (BFI Screen Guides) and the co-editor of Journeys of Desire: European Actors in Hollywood; Japanese Cinema: Texts and Contexts and A Companion to Jean Renoir. His articles on international film history and aesthetics have appeared in numerous journals and books. He is an editor of the journal Screen and serves on the Editorial Advisory Boards of The Journal of Japanese and Korean Cinema and the BFI Film Classics series.

Richly illustrated with over 100 black and white film stills and screengrabs

TABLE OF CONTENTS

Acknowledgments

IntroductionJapanese Cinema and Its Multiple Perspectives
Hideaki Fujiki (Nagoya University, Japan) and Alastair Phillips (University of Warwick, UK)

Part One: Theories and Approaches

1. Early CinemaDifference, Definition and Japanese Film Studies
Aaron Gerow (Yale University, USA)

2. AuthorshipAuthor, Sakka, Auteur
Alex Jacoby (Oxford Brookes University, UK)

3. Spectatorship
The Spectator as Subject and Agent
Hideaki Fujiki (Nagoya University, Japan)

4. Film CriticismSoviet Montage Theory and Japanese Film Criticism
Naoki Yamamoto (University of California, Santa Barbara, USA)

5. NarrativeMulti-viewpoint Narrative: From Rashomon (1950) to Confessions (2010)
Kosuke Kinoshita (Gunma Prefectural Women's University, Japan)

6. Gender and SexualityFeminist Film Scholarships: Dialogue and Diversification
Hikari Hori (Toyo University, Japan)

Part Two: Institutions and Industry

7. The Studio SystemThe Japanese Studio System Revisited
Hiroyuki Kitaura (Kaichi International University, Japan)

8. ExhibitionScreening Spaces: A History of Japanese Film Exhibition
Manabu Ueda (Kobe Gakuin University, Japan)

9. CensorshipCensorship as Education: Film Violence and Ideology
Rachael Hutchinson (University of Delaware, USA)

10. TechnologySound and Intermediality in 1930s Japanese Cinema
Johan Nordström (Tsuru University, Japan)

11. Film FestivalsEngasai Inside Out: Japanese Cinema and Film Festival Programming
Ran Ma (Nagoya University, Japan)

12. StardomQueer Resonance: The Stardom of Miwa Akihiro
Yuka Kanno (Doshisha University, Japan)

13. Experimental CinemaForms, Spaces and Networks: A History of Japanese Experimental Film
Julian Ross (Leiden University, The Netherlands)

14. Transmedial RelationsManga at the Movies: Adaptation and Intertextuality
Rayna Denison (University of East Anglia, UK)

15. The ArchiveScreening Locality: Japanese Home Movies and the Politics of Place
Oliver Dew (UK)

Part Three: Film Style

16. CinematographyThe Trans-pacific Work of Japanese Cinematographers
Daisuke Miyao (University of California, San Diego, USA)

17. ActingSpectral Bodies: Matsui Sumako and Tanaka Kinuyo in The Love of Sumako the Actress (1947)
Chika Kinoshita (Kyoto University, Japan)

18. Set DesignColour and Excess in Undercurrent (1956)
Fumiaki Itakura (Kobe University, Japan)

19. MusicWhen the Music Exits the Screen: Sound and Image in Japanese Sword Fight Films
Yuna Tasaka (Belgium)

Part Four: Genre

20. Period DramaThe Duplicitous Topos of Jidaigeki
Philip Kaffen (The University of North Carolina at Charlotte, USA)

21. The Horror FilmThe Ghosts of Kaiki Eiga
Michael E. Crandol (Leiden University, The Netherlands)

22. AnimeCompositing and Switching: An Intermedial History of Japanese Anime
Thomas Lamarre (McGill University, Canada)

23. MelodramaMelodrama, Modernity and Displacement: That Night's Wife (1930)
Ryoko Misono (with Hideaki Fujiki and Alastair Phillips)

24. The MusicalHeibon and the Popular Song Film
Michael Raine (Western University, Canada)

25. The Yakuza FilmThe Yakuza Film: A Genre 'Endorsed by the People'
Jennifer Coates (University of Sheffield, UK)

26. Documentary'Filling Our Empty Hands': Ogawa Productions and the Politics of Subjectivity
Ayumi Hata (Japan)

Part Five: Time and Spaces of Representation

27. EcologyToxic Interdependencies: 3/11 Cinema
Rachel DiNitto (University of Oregon, USA)

28. Rural LandscapeThe Cinematic Countryside in Japanese Wartime Filmmaking
Sharon Hayashi (York University, Canada)

29. The HomeSeparations and Connections: The Cinematic Homes of the Showa 30s
Woojeong Joo (Nagoya University, Japan)

30. The CityTokyo 1958
Alastair Phillips (University of Warwick, UK)

Part Six: Social Contexts

31. EmpireCinematic Dualities: Shanghai Filmmaking in the Era of the Japanese Occupation
Ni Yan (Japan Institute of Moving Image, Japan)

32. The OccupationPedagogies of Modernity: CIE and USIS Films about the United Nations
Yuka Tsuchiya (Kyoto University, Japan)

33. Social Protest
Japanese Student Movement Cinema: A Dialogic Approach
Masato Dogase (Nagoya University, Japan)

34. Minority CulturesWhose Song Is It? Korean and Women's Voice in Oshima Nagisa's Sing a Song of Sex (1967)
Mika Ko (Hosei University, Japan)

35. GlobalisationJapanese 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 HistoriesTechnologies of Co-production: Japan in Asia and the Cold War Production of Regional Place
Stephanie DeBoer (Indiana University, USA)

37. Japanese Cinema and HollywoodFrontiers of Nostalgia: The Japanese Western in the Postwar Era
Hiroshi Kitamura (College of William and Mary, USA)

38. Japanese Cinema and its PeripheriesJapan and Okinawa and the Politics of Exchange
Andrew Dorman (UK)

39. Japanese Cinema and EuropeA Constellation of Gazes: Europe and the Japanese Film Industry
Yoshiharu Tezuka (Komazawa University, Japan)

40. Transnational Remakes and AdaptationsCasablanca Karaoke: The Program Picture as Marginal Art in 1960s Japan
Ryan Cook (Emory University, USA)

Select Bibliography

Index