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The Cinema of Japan and Korea is the fourth volume in the new 24 Frames series of studies of national and regional cinema, and focuses on the continuing vibrancy of Japanese and Korean film. The 24 concise and informative essays each approach an individual film or documentary, together offering a unique introduction to the cinematic output of the two countries. With a range that spans from silent cinema to the present day, from films that have achieved classic status to underground masterpieces, the book provides an insight into the breadth of the Japanese and Korean cinematic landscapes. Among the directors covered are Akira Kurosawa, Takeshi Kitano, Kim Ki-duk, Kenji Mizoguchi, Kinji Fukusaku, Kim Ki-young, Nagisa Oshima and Takashi Miike. Included are in-depth studies of films such as Battle Royale, Killer Butterfly, Audition, Violent Cop, In the Realm of the Senses, Tetsuo 2: Body Hammer, Teenage Hooker Becomes a Killing Machine, Stray Dog, A Page of Madness and Godzilla.
A fan's guide to the weirdest, scariest films from Asian masters.
What might Godzilla and Kurosawa have in common? What, if anything, links Ozu’s sparse portraits of domestic life and the colorful worlds of anime? In What Is Japanese Cinema? Yomota Inuhiko provides a concise and lively history of Japanese film that shows how cinema tells the story of Japan’s modern age. Discussing popular works alongside auteurist masterpieces, Yomota considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in its historical, technological, and global contexts. Yomota shows how Japanese film has been shaped by traditonal art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry’s rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Yomota provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography. An incisive and opinionated history, What Is Japanese Cinema? is essential reading for admirers and students of Japan’s contributions to the world of film.
This book examines how filmmakers, curators, and critics created a category of transnational, Korean-in-Japan (Zainichi) Cinema, focussing on the period from the 1960s onwards. An enormously diverse swathe of films have been claimed for this cinema of the Korean diaspora, ranging across major studio yakuza films and melodramas, news reels created by ethnic associations, first-person video essays, and unlikely hits that crossed over from the indie distribution circuit to have a wide impact across the media landscape. Today, Zainichi-themed works have never had a higher profile, with new works by Matsue Tetsuaki, Sai Yoichi, and Yang Yonghi frequently shown at international festivals. Zainichi Cinema argues that central to this transnational cinema is the tension between films with an authorized claim to “represent”, and ambiguous and borderline works that require an active spectator to claim them as images of the Korean diaspora.
Divided Lenses: Screen Memories of War in East Asia is the first attempt to explore how the tumultuous years between 1931 and 1953 have been recreated and renegotiated in cinema. This period saw traumatic conflicts such as the Sino-Japanese War, the Pacific War, and the Korean War, and pivotal events such as the Rape of Nanjing, Pearl Harbor, the Battle of Iwo Jima, and the bombings of Hiroshima and Nagasaki, all of which left a lasting imprint on East Asia and the world. By bringing together a variety of specialists in the cinemas of East Asia and offering divergent yet complementary perspectives, the book explores how the legacies of war have been reimagined through the lens of film. This turbulent era opened with the Mukden Incident of 1931, which signaled a new page in Japanese militaristic aggression in East Asia, and culminated with the Korean War (1950–1953), a protracted conflict that broke out in the wake of Japan's post–World War II withdrawal from Korea. Divided Lenses explores the ways in which events of the intervening decades have continued to shape politics and popular culture throughout East Asia and the world. The essays in part I examine historical trends at work in various "national" cinemas, including China, Taiwan, Japan, Korea, and the United States. Those in part 2 focus on specific themes present in the cinema portraying this period—such as comfort women in Chinese film, the Nanjing Massacre, or nationalism—and how they have been depicted or renegotiated in contemporary films. Of particular interest are contributions drawing from other forms of screen culture, such as television and video games. Divided Lenses builds on the growing interest in East Asian cinema by examining how these historic conflicts have been imagined, framed, and revisited through the lens of cinema and screen culture. It will interest later generations living in the shadow of these events, as well as students and scholars in the fields of cinema studies, cultural studies, cold war studies, and World War II history.
The Japanese Cinema Book provides a new and comprehensive survey of one of the world's most fascinating and widely admired filmmaking regions. In terms of its historical coverage, broad thematic approach and the significant international range of its authors, it is the largest and most wide-ranging publication of its kind to date. Ranging from renowned directors such as Akira Kurosawa to neglected popular genres such as the film musical and encompassing topics such as ecology, spectatorship, home-movies, colonial history and relations with Hollywood and Europe, The Japanese Cinema Book presents a set of new, and often surprising, perspectives on Japanese film. With its plural range of interdisciplinary perspectives based on the expertise of established and emerging scholars and critics, The Japanese Cinema Book provides a groundbreaking picture of the different ways in which Japanese cinema may be understood as a local, regional, national, transnational and global phenomenon. The book's innovative structure combines general surveys of a particular historical topic or critical approach with various micro-level case studies. It argues there is no single fixed Japanese cinema, but instead a fluid and varied field of Japanese filmmaking cultures that continue to exist in a dynamic relationship with other cinemas, media and regions. The Japanese Cinema Book is divided into seven inter-related sections: · Theories and Approaches · * Institutions and Industry · * Film Style · * Genre · * Times and Spaces of Representation · * Social Contexts · * Flows and Interactions
New Korean Cinema charts the dramatic transformation of South Korea's film industry from the democratization movement of the late 1980s to the 2000s new generation of directors. The author considers such issues as government censorship, the market's embrace of Hollywood films, and the social changes which led to the diversification and surprising commercial strength of contemporary Korean films. Directors such as Hong Sang-soo, Kim Ki-duk, Park Chan-wook, and Bong Joon-ho are studied within their historical context together with a range of films including Sopyonje (1993), Peppermint Candy (1999), Oldboy (2003), and The Host (2006).
"Devastated by the 1923 earthquake, Tokyo re-built itself in symbiosis with an image of modernity concocted by its own film studios. Nippon Modern renders that image, aspect after fascinating aspect, in sharp detail. Scores of films make up that image, a few resurrected in this volume for intense and delightful analysis. A sensitive viewer and an honest resourceful historian, Wada-Marciano lays out what she’s found in relation to other studies of this precious period, and she does so without hyperbole and without a glaring agenda. She makes you understand how, after Tokyo would again be devastated in 1945, these ‘modern’ films could become objects of nostalgia. Such is the care she gives her subject and such the fragility of that subject." —Dudley Andrew, Yale University "Nippon Modern will be recognized as one of the core books of Japanese film studies, a must-read for anyone interested in Japanese cinema. Because it brings Japanese cinema study into dialogue with important debates in history, area studies, and post colonial studies, it should have a wide and heterogeneous readership that will be attracted to its compelling analysis of important films and straightforward narration of biographies and studio history." —Abé Mark Nornes, University of Michigan Nippon Modern is the first intensive study of Japanese cinema in the 1920s and 1930s, a period in which the country’s film industry was at its most prolific and a time when cinema played a singular role in shaping Japanese modernity. During the interwar period, the signs of modernity were ubiquitous in Japan’s urban architecture, literature, fashion, advertising, popular music, and cinema. The reconstruction of Tokyo following the disastrous earthquake of 1923 high lighted the extent of this cultural transformation, and the film industry embraced the reconfigured space as an expression of the modern. Shochiku Kamata Film Studios (1920–1936), the focus of this study, was the only studio that continued filmmaking in Tokyo following the city’s complete destruction. Mitsuyo Wada-Marciano points to the influence of the new urban culture in Shochiku’s interwar films, acclaimed as modan na eiga, or modern films, by and for Japanese. Wada-Marciano’s thought-provoking examinations illustrate the reciprocal relationship between cinema and Japan’s vernacular modernity—what Japanese modernity actually meant to Japanese. Her thorough and thoughtful analyses of dozens of films within the cultural contexts of Japan con tribute to the current inquiry into non-Western vernacular modernities.
The Cinema of Japan and Korea is the fourth volume in the new 24 Frames series of studies of national and regional cinema, and focuses on the continuing vibrancy of Japanese and Korean film. The 24 concise and informative essays each approach an individual film or documentary, together offering a unique introduction to the cinematic output of the two countries. With a range that spans from silent cinema to the present day, from films that have achieved classic status to underground masterpieces, the book provides an insight into the breadth of the Japanese and Korean cinematic landscapes. Among the directors covered are Akira Kurosawa, Takeshi Kitano, Kim Ki-duk, Kenji Mizoguchi, Kinji Fukusaku, Kim Ki-young, Nagisa Oshima and Takashi Miike. Included are in-depth studies of films such as Battle Royale, Killer Butterfly, Audition, Violent Cop, In the Realm of the Senses, Tetsuo 2: Body Hammer, Teenage Hooker Becomes a Killing Machine, Stray Dog, A Page of Madness and Godzilla.
More than one-half million people of Korean descent reside in Japan today—the largest ethnic minority in a country often assumed to be homogeneous. This timely, interdisciplinary volume blends original empirical research with the vibrant field of diaspora studies to understand the complicated history, identity, and status of the Korean minority in Japan. An international group of scholars explores commonalities and contradictions in the Korean diasporic experience, touching on such issues as citizenship and belonging, the personal and the political, and homeland and hostland.