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Kerim Yasar traces the origins of the modern soundscape, showing how the revolutionary nature of sound technology and the rise of a new auditory culture played an essential role in the formation of Japanese modernity. Electrified Voices is a far-reaching cultural history of the telegraph, telephone, phonograph, radio, and early sound film in Japan.
This book provides a multifaceted single-volume account of Japanese cinema. It addresses productive debates about what Japanese cinema is, where Japanese cinema is, as well as what and where Japanese cinema studies is, at the so-called period of crisis of national boundary under globalization and the so-called period of crisis of cinema under digitalization.
From popular genre films to cult avant-garde works, this book is an essential guide to Japan's vibrant cinema culture. It collects two decades of the best of Mark Schilling's film writing for Variety, Japan Times, and other publications. The book offers an in-depth look at hundreds of landmark Japanese movies as well as undeservedly neglected ones. The essays and detailed analyses are interwoven with more than sixty interviews showcasing Japan's most talented directors and stars. This book enables students, teachers, and lovers of Japanese cinema to make new discoveries while learning more about their favorite films. Mark Schilling set off for Japan in 1975 to immerse himself in the culture, learn the language, and haunt the theaters. He has been there ever since. In 1989 he became a regular film reviewer for The Japan Times, and has written on Japanese film for publications including Variety, Screen International, Premier, Newsweek, Wall Street Journal, Japan Quarterly, Winds, Cinemaya, and Kinema Jumpo.
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 deliberates on the role of the transnational in bringing to the mainstream what were formerly marginal Japanese B movie genres.
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
This important work fills the need for a reasonably priced yet comprehensive volume on major directors in the history of Japanese film. With clear insight and without academic jargon, Jacoby examines the works of over 150 filmmakers to uncover what makes their films worth watching. Included are artistic profiles of everyone from Yutaka Abe to Isao Yukisada, including masters like Kinji Fukasaku, Juzo Itami, Akira Kurosawa, Takashi Miike, Kenji Mizoguchi, Yasujiro Ozu, and Yoji Yamada. Each entry includes a critical summary and filmography, making this book an essential reference and guide. UK-based Alexander Jacoby is a writer and researcher on Japanese film.
Among Asian countries--where until recently documentary filmmaking was largely the domain of central governments--Japan was exceptional for the vigor of its nonfiction film industry. And yet, for all its aesthetic, historical, and political interest, the Japanese documentary remains little known and largely unstudied outside of Japan. This is the first English-language study of the subject, an enlightening close look at the first fifty years of documentary film theory and practice in Japan. Beginning with films made by foreigners in the nineteenth century and concluding with the first two films made after Japan's surrender in 1945, Abe Mark Nornes moves from a "prehistory of the documentary, " through innovations of the proletarian film movement, to the hardening of style and conventions that started with the Manchurian Incident films and continued through the Pacific War. Nornes draws on a wide variety of archival sources--including Japanese studio records, secret police reports, government memos, letters, military tribunal testimonies, and more--to chart shifts in documentary style against developments in the history of modern Japan.