Routledge Handbook of Japanese Cinema

Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of Figures
List of Tables
Acknowledgments
	Previous publication
	Funding, illustrations, research assistance
Editors’ Note
Introduction
	The logic of the book
	Notes
	Works cited
Part I
	Decentering classical cinema: modernity, translation, and mobilization
		Works cited
	1 Suspense and border crossing: Ozu Yasujirō’s crime melodrama
		Borders within the modern city: That Night’s Wife
		The imperial metropolis: the fault lines of modern urban space
		The internal other within the nation state
		The fragmented room
		Becoming a “world citizen”
		In closing
		Notes
		Works cited
	2 Beyond Mt. Fuji and the Lenin cap: identity crisis in Taniguchi Senkichi’s Akasen kichi (The Red Light Military Base, 1953)
		The forgotten “base film”
		What was “the Akasen kichi controversy”?
		The Red Light Military Base as an “anti-American film”: the American response
		Negotiation over identification: heart of darkness in The Red Light Military Base
		From political sensationalism to allegorical monsters
		Notes
		Works cited
	3 Home movies of the revolution: proletarian filmmaking and counter-mobilization in interwar Japan
		The Bolshevization period
		Organization structure and equipment
		Internal debates on Bolshevization and the mobile film unit
		A day with the mobile film unit
		Future directions
		Notes
		Works cited
		Further reading
	4 When Marnie Was There: female friendship film and the genealogy of queer girls’ culture
		Introduction
		Ghostly lesbianism
		Queer narrative as anti-climax
		Translated girls’ fiction in Japan
		Global queer girls’ culture
		Conclusion
		Notes
		Works cited
		Further reading
	5 Making Sense of Nakai Masakazu’s Film Theory, “Kino Satz”
		Nakai the filmmaker
		The relationship between Nakai’s film theory and the theories that pre-dated him
		The connection between Nakai and other contemporary film theories (1920s–1930s)
		The relationship between Nakai and subsequent film theories
		Conclusion: making sense of Nakai’s film theory
		Notes
		Works cited
		Further reading
	6 Geysers of another nature: the optical unconscious of the Japanese science film
		The optical unconscious: accessing and reporting on science to the masses
		The pre-war roots of kagaku eiga: captioning, imaging, and allegorizing
		Post-war film: humanism and reflexive participation
		The optical unconscious as manifesto: a conclusion
		Notes
		Works cited
		Further reading
Part II
	Questions of industry: critical studies of regulatory frameworks, creative labor, and distributive networks
		Works cited
	7 Kaiju films as exportable content: reassessing the function of the Japanese Film Export Promotion Association
		Background: demands from within the film industry and speculations on overseas markets
		Characteristics of “export-appropriate films”
		Criticism of the export promotion association and the end of the financing system
		The end of the kaiju film boom and dissolution of Nikkatsu and Daiei
		How do we judge the production of kaiju films through the Export Promotion Association?
		Notes
		Works cited
		Further reading
	8 “Fugitives” from the studio system: Ikebe Ryō, Sada Keiji, and the transition from cinema to television in the early 1960s
		Introduction
		The studio system and film stars
		Ikebe Ryo’s The Man in Macao and Shintoho’s bankruptcy
		Serialized television drama Smoke and the Japan Screen Actors Association
		Conclusion
		Notes
		Works cited
		Further reading
	9 Solo animation in Japan: empathy for the drawn body
		Solo animation in the twenty-first century
		Empathy for the ritualized routine
		Empathy for the biological test subject
		Notes
		Works cited
		Further reading
	10 Media models of “amateur” film and manga
		Rethinking media politics
		1923: the baby arrives
		Manga dojinshi’s networks
		Connectivity and its politics
		Conclusions: institutionalization
		Notes
		Works cited
		Further reading
Part III
	Intermedia as an approach: tracing genealogies across disciplines and media
		Notes
		Works cited
	11 Utsushi-e: Japanese magic lantern performance as pre-cinematic projection practice
		Introduction
		Utsushi-e performance in the nineteenth century
		Early magic lantern practice in Japan
		Rise of Utsushi-e
		Material matters
		Animating characters
		After Utsushi-e
		Notes
		Works cited
		Further reading
	12 “Inter-mediating” global modernity: benshi film narrators, multisensory performance, and fan culture
		History and significance of benshi
		Tokugawa Musei: fan favorite, vernacular modernist, and informal theorist of benshi performance
		Digital archive: recreating the multisensory experience of film exhibitions and preserving ephemera
		Notes
		Works cited
		Further reading
	13 Between silence and sound: the liminal space of the Japanese “sound version”
		Introduction
		The Japanese film industry and the sound version film
		Sounding but not talking, the liminal aesthetics of the sound version
		The sound version film after 1936
		Conclusion
		Notes
		Works cited
		Further reading
	14 Marionettes no longer: politics in the early puppet animation of Kawamoto Kihachirō
		Contemporary puppet plays in Japan
		Puppet plays on early Japanese television
		The Breaking of the Branches is Forbidden as a political allegory
		Conclusion
		Notes
		Works cited
		Further reading
	15 Rhetorics of autonomy and mobility in Japanese “AAA” games: the Metal Gear Solid and Resident Evil series within a global media context
		Games as blockbuster media
		Embodiment in perception and play
		The cultural identity of borderless media
		The logistics of agency
		The novelty of autonomy
		Notes
		Works cited
		Further reading
	16 Pointing through the screen: archiving, surveillance, and atomization in the wake of Japan’s 2011 triple disasters
		Missing archives
		Humans of Fukushima
		Surveillance culture
		Resistant self-fashioning
		Pointing through the screen
		Notes
		Works cited
		Further reading
Part IV
	The object life of film: site-specific approaches to Japanese cinema studies
		Notes
		Works cited
	17 A Historical Survey of Film Archiving in Japan
		Imperial Japan: an emerging film manufacturer and early film librarianship
		The post-war period from the occupation to the 1970s: Kawakita Kashiko and the “Film Preservation Campaign”
		From the 1980s to the present: Japanese films as cultural heritage
		Conclusion
		Notes
		Works cited
		Further reading
	18 Japanese Film History and the Challenges of IMAGICA WEST Corp.
		From wartime controls to the post-war color boom
		New challenges called “old films”
		Conclusion
		Notes
		Works cited
		Further reading
	19 A Case Study of Japanese Film Exhibition in North America: The Japan Society, New York
		Introduction
		Classics and pioneering US retrospectives
		Genre series
		Strategized programs
		Contemporary cinema
		Conclusion
		Notes
		Works cited
		Further reading
	20 Regional film archive in transit: Yasui Yoshio and Kobe Planet Film Archive
		Film collection as tactics: Keihanshin cine-clubs against Tokyo centric geography
		Contesting the regional: Kobe Planet Film Archive
		Toward a scale jumping film archive
		Conclusion
		Notes
		Works cited
		Further reading
	21 New paths toward preserving Japanese cinema: the Toy Film Museum backstory
		Introduction
		Origins: navigating a changing landscape
		Portals to the past: three formative film restorations
		Expansion and diversification: the Toy Film Project
		The Film Restoration and Preservation Workshop
		Conclusion: a communal base for fostering film preservation
		Notes
		Works cited
		Further reading
Contributors
Index