Oxford Handbook of Japanese Cinema
Herausgeber: Miyao, Daisuke
Oxford Handbook of Japanese Cinema
Herausgeber: Miyao, Daisuke
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A comprehensive volume that grasps Japanese cinema under the rubric of the global and also fills the gap between Japanese and non-Japanese film studies and between theories and practices, The Oxford Handbook of Japanese Cinema challenges and responds to the major developments underfoot in this rapidly changing field.
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A comprehensive volume that grasps Japanese cinema under the rubric of the global and also fills the gap between Japanese and non-Japanese film studies and between theories and practices, The Oxford Handbook of Japanese Cinema challenges and responds to the major developments underfoot in this rapidly changing field.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press, USA
- Seitenzahl: 498
- Erscheinungstermin: 1. Dezember 2018
- Englisch
- Abmessung: 244mm x 170mm x 28mm
- Gewicht: 862g
- ISBN-13: 9780190937355
- ISBN-10: 0190937351
- Artikelnr.: 53447170
- Verlag: Oxford University Press, USA
- Seitenzahl: 498
- Erscheinungstermin: 1. Dezember 2018
- Englisch
- Abmessung: 244mm x 170mm x 28mm
- Gewicht: 862g
- ISBN-13: 9780190937355
- ISBN-10: 0190937351
- Artikelnr.: 53447170
Daisuke Miyao is Associate Professor of Japanese Film and Cinema Studies at the University of Oregon. He is the author of The Aesthetics of Shadow: Lighting and Japanese Cinema, Eiga wa neko dearu: Hajimete no cinema sutadizu [Cinema Is a Cat: Introduction to Cinema Studies], and Sessue Hayakawa: Silent Cinema and Transnational Stardom.
* Introduction
* Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema
Studies
* Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film
Studies (Eric Cazdyn)
* Chapter 2: Triangulating Japanese Film Style (Ben Singer)
* Chapter 3: Critical Reception: Historical Conceptions of Japanese
Film Criticism (Aaron Gerow)
* Chapter 4: Creating the Audience: Cinema as Popular Recreation and
Social Education in Modern Japan (Hideaki Fujiki)
* Part 2: What Is Japanese Cinema?: Japanese Cinema and the
Transnational Network
* Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine)
* Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in
Japanese Cinema (Chika Kinoshita)
* Chapter 7 Nationalizing Madame Butterfly: The Formation of Female
Stars in Japanese Cinema (Daisuke Miyao)
* Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film
Spectatorship, and the Formation of National Cinema in Korea under
Japanese Colonial Rule (Dong Hoon Kim)
* Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan,
1952-1962 (Hiroshi Kitamura)
* Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung
Lo)
* Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia
and Japan's Re-entrance to the Regional Film Industry in the 1950s
(Sang Joon Lee)
* Chapter 12 Yamagata - Asia - Europe: International Film Festival
Short-Circuit (Abe Mark Nornes)
* Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial
Practices
* Chapter 13 Nitrate Film Production in Japan: a Historical Background
of the Early Days (Okada Hidenori - Translated by Ayako Saito)
* Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical
Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa
Shuhei)
* Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its
Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis)
* Chapter 16 Occupation and Memory: the Representation of Woman's Body
in Postwar Japanese (Ayako Saito)
* Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961)
(Mitsuyo Wada-Marciano)
* Chapter 18 By Other Hands: Environment and Apparatus in 1960s
Intermedia (Myriam Sas)
* Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas)
* Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric
Economy of World (Alexander Zahlten)
* Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema
Studies
* Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film
Studies (Eric Cazdyn)
* Chapter 2: Triangulating Japanese Film Style (Ben Singer)
* Chapter 3: Critical Reception: Historical Conceptions of Japanese
Film Criticism (Aaron Gerow)
* Chapter 4: Creating the Audience: Cinema as Popular Recreation and
Social Education in Modern Japan (Hideaki Fujiki)
* Part 2: What Is Japanese Cinema?: Japanese Cinema and the
Transnational Network
* Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine)
* Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in
Japanese Cinema (Chika Kinoshita)
* Chapter 7 Nationalizing Madame Butterfly: The Formation of Female
Stars in Japanese Cinema (Daisuke Miyao)
* Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film
Spectatorship, and the Formation of National Cinema in Korea under
Japanese Colonial Rule (Dong Hoon Kim)
* Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan,
1952-1962 (Hiroshi Kitamura)
* Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung
Lo)
* Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia
and Japan's Re-entrance to the Regional Film Industry in the 1950s
(Sang Joon Lee)
* Chapter 12 Yamagata - Asia - Europe: International Film Festival
Short-Circuit (Abe Mark Nornes)
* Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial
Practices
* Chapter 13 Nitrate Film Production in Japan: a Historical Background
of the Early Days (Okada Hidenori - Translated by Ayako Saito)
* Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical
Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa
Shuhei)
* Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its
Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis)
* Chapter 16 Occupation and Memory: the Representation of Woman's Body
in Postwar Japanese (Ayako Saito)
* Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961)
(Mitsuyo Wada-Marciano)
* Chapter 18 By Other Hands: Environment and Apparatus in 1960s
Intermedia (Myriam Sas)
* Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas)
* Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric
Economy of World (Alexander Zahlten)
* Introduction
* Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema
Studies
* Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film
Studies (Eric Cazdyn)
* Chapter 2: Triangulating Japanese Film Style (Ben Singer)
* Chapter 3: Critical Reception: Historical Conceptions of Japanese
Film Criticism (Aaron Gerow)
* Chapter 4: Creating the Audience: Cinema as Popular Recreation and
Social Education in Modern Japan (Hideaki Fujiki)
* Part 2: What Is Japanese Cinema?: Japanese Cinema and the
Transnational Network
* Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine)
* Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in
Japanese Cinema (Chika Kinoshita)
* Chapter 7 Nationalizing Madame Butterfly: The Formation of Female
Stars in Japanese Cinema (Daisuke Miyao)
* Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film
Spectatorship, and the Formation of National Cinema in Korea under
Japanese Colonial Rule (Dong Hoon Kim)
* Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan,
1952-1962 (Hiroshi Kitamura)
* Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung
Lo)
* Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia
and Japan's Re-entrance to the Regional Film Industry in the 1950s
(Sang Joon Lee)
* Chapter 12 Yamagata - Asia - Europe: International Film Festival
Short-Circuit (Abe Mark Nornes)
* Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial
Practices
* Chapter 13 Nitrate Film Production in Japan: a Historical Background
of the Early Days (Okada Hidenori - Translated by Ayako Saito)
* Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical
Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa
Shuhei)
* Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its
Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis)
* Chapter 16 Occupation and Memory: the Representation of Woman's Body
in Postwar Japanese (Ayako Saito)
* Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961)
(Mitsuyo Wada-Marciano)
* Chapter 18 By Other Hands: Environment and Apparatus in 1960s
Intermedia (Myriam Sas)
* Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas)
* Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric
Economy of World (Alexander Zahlten)
* Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema
Studies
* Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film
Studies (Eric Cazdyn)
* Chapter 2: Triangulating Japanese Film Style (Ben Singer)
* Chapter 3: Critical Reception: Historical Conceptions of Japanese
Film Criticism (Aaron Gerow)
* Chapter 4: Creating the Audience: Cinema as Popular Recreation and
Social Education in Modern Japan (Hideaki Fujiki)
* Part 2: What Is Japanese Cinema?: Japanese Cinema and the
Transnational Network
* Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine)
* Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in
Japanese Cinema (Chika Kinoshita)
* Chapter 7 Nationalizing Madame Butterfly: The Formation of Female
Stars in Japanese Cinema (Daisuke Miyao)
* Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film
Spectatorship, and the Formation of National Cinema in Korea under
Japanese Colonial Rule (Dong Hoon Kim)
* Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan,
1952-1962 (Hiroshi Kitamura)
* Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung
Lo)
* Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia
and Japan's Re-entrance to the Regional Film Industry in the 1950s
(Sang Joon Lee)
* Chapter 12 Yamagata - Asia - Europe: International Film Festival
Short-Circuit (Abe Mark Nornes)
* Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial
Practices
* Chapter 13 Nitrate Film Production in Japan: a Historical Background
of the Early Days (Okada Hidenori - Translated by Ayako Saito)
* Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical
Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa
Shuhei)
* Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its
Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis)
* Chapter 16 Occupation and Memory: the Representation of Woman's Body
in Postwar Japanese (Ayako Saito)
* Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961)
(Mitsuyo Wada-Marciano)
* Chapter 18 By Other Hands: Environment and Apparatus in 1960s
Intermedia (Myriam Sas)
* Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas)
* Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric
Economy of World (Alexander Zahlten)