A Companion to Japanese Cinema

Cover
Title Page
Copyright Page
Contents
Notes on Contributors
Acknowledgements
Introduction
Section 1 History, Ideology, Aesthetics
	1 Kyoto – The “Hollywood of Japan”
	2 The Pure Film Movement and Modern Japanese
Film Style
	3 Shiraito Redux: Text, Body, Desire from Kyoka to Mizoguchi
	4 The Adventures of Uchida Tomu
	5 Yoshimura Kozaburo and the Working Woman in the Old Capital
	6 Calico-World in Rainbow Colors: The Aesthetics of Gender in 1950s
Toei Jidaigeki
	7 Silverscreen Dreamboats and the Polyvocal Address
	8 Mad, Bad, and Beautiful: Revisiting Kurosawa’s Women
	9 Biographies of Loss: The Cinematic Melancholy of Kawase Naomi
	10 Shaping the Anime Industry: Second Generation Pioneers and the
Emergence of the Studio System
	11 Shapeshifting in Anime: Form and Meaning
Section 2 The Old and the New
	12 Ainu in Documentary Films: Promiscuous Iconography and
the Absent Image
	13 Modernity in Film Exhibition: The Rise of Modern Movie
Theaters in Tokyo, 1920s–1930s
	14 Female Stardom and National Identity in Postwar Japan
	15 Wild, Sexy, and Funny: Toei Does “Pink”
	16 Behind the Voice that Brought Peace: The Emperor as Hero in
The Emperor in August
	17 Queer Time in Summer Vacation 1999
	18 Horror Old and New: Nakata Hideo’s Ringu (1998) between
J-Horror and Hibakusha Cinema
	19 Youth, Trauma, and Contemporary Japanese Cinema
	20 “Female Director”: Discourses and Practices in Contemporary Japan
	21 The Dying Art of Japanese Cinema
Section 3 Intermediality
	22 Before Media Mix: The Electric Ecology
	23 Gosho and the Gagman: Scriptwriting at the
Time of the Talkie Crisis
	24 Inventing Television through Film: Japanese Cinema and TV, 1953–1963
	25 ’Scope and the City: Reframing a Modern Metropolis
	26 Bodies in Motion: Japanese Film of the 1964 Tokyo Olympics
Era between Mass Culture, Media, and Memory
	27 Adaptation as Cinematic Translation: Murakami Haruki and
Ichikawa Jun’s Tony Takitani
	28 Blockbusters in Japan: Hit Film Culture and the Rise of Fuji
Television as Commercial Film Studio
	29 Hani Susumu, Nouvelle Vague in Japan and Processive Cinema
	30 The Cultural Turn in Post-3.11 Documentary: Kamanaka Hitomi’s
Accented Documentary
Index
EULA