The Oxford Handbook of Japanese Cinema (Oxford Handbooks)
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The reality of transnational innovation and dissemination of new technologies, including digital media, has yet to make a dent in the deep-seated culturalism that insists on reinscribing a divide between the West and Japan. The Oxford Handbook of Japanese Cinema aims to counter this trend toward dichotomizing the West and Japan and to challenge the pervasive culturalism of today's film and media studies.
Featuring twenty essays, each authored by a leading researcher in the field, this volume addresses productive debates about where Japanese cinema is and where Japanese cinema is going at the period of crisis of national boundary under globalization. It reevaluates the position of Japanese cinema within the discipline of cinema and media studies and beyond, and situates Japanese cinema within the broader fields of transnational film history. Likewise, it examines the materiality of Japanese cinema, scrutinizes cinema's relationship to other media, and identifies the specific practices of film production and reception. As a whole, the volume fosters a dialogue between Japanese scholars of Japanese cinema, film scholars of Japanese cinema based in Anglo-American and European countries, film scholars of non-Japanese cinema, film archivists, film critics, and filmmakers familiar with film scholarship.
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.
dominant. Likewise, even when scholars are celebrating the more capacious fields of visual studies or cultural studies, they are still at risk of employing discipline-based assumptions. There is a formal component to thinking, in other words, that continues to rely on national and disciplinary modes of scholarship. This has more to do with how we organize knowledge than in what our objects of study actually are—an anachronism that also penetrates much of the work coming out of the one field that
comes after the scene with his girlfriend and some sounds unintentionally escape his mouth (small whines); he then looks up and this takes us to the next bar and to Takagi’s new friend, who also emits faint sounds (dame da, dame da ta, or “it’s hopeless, hopeless”). The following cut to the woman in white and to the yakuza boss, the Three, comes by way of what has to be one of the great moments in the history of cinema, the extended peeing scene in the bar’s beat-up toilet (a tour de force of
Venice in 1951, along with the propagandistic rejection of foreign cinema during the war, had already prompted a reconsideration of the long-standing critical privileging of foreign over Japanese film. The elite status of the former would not end, but critics such as Sato Tadao, who came out of Shiso no kagaku and later became editor of Eiga hyoron (Film Criticism), moved away from a perpetual reliance on the “universal” standard of cinema and attempted to see how Japanese cinema may have emerged
western “singing cowboy” genre, but as Watanabe Takenobu astutely observes, the central character Taki Shinji carries the traumatic history of World War II along with his guitar, and the genre is characterized by an absurd overlay of western 05_Miyao_CH05.indd 116 10/30/2013 5:25:34 PM adaptation as “transcultural mimesis” in japanese cinema 117 genre conventions, including wide-open landscapes, and touristic Japanese locations where it is always “the day of the festival” when Taki comes to
He added a translator’s note to chapter 2, “Montage of the Cinema: The Cognitive Economy” (Eiga no montaju: Ninshiki no keizai), in which he expressed the following sober judgment: “It is impossible to find the right translation for the word montage. Although the attentive reader of this essay will understand its precise meaning, I can say that it amounts to the English word ‘cutting’—in its larger meaning.”47 Iwasaki was technically right. Montage, derived from the French verb monter (to