Japanese Cinema Goes Global
Filmworkers' Journeys
Publication Year: 2011
Published by: Hong Kong University Press, HKU
Series: TransAsia: Screen Cultures
Contents

Preface
This book1 is concerned with the cultural effects of economic globalization in the context of Japanese filmmaking communities. One of the major consequences of the process of globalization has been that a cosmopolitan subjectivity has emerged and become commonplace by which people imagine themselves...

Note on Romanization of Asian Names and Scripts
In this book, Japanese names are put in the Western order, i.e. given name first then family name, since it is customary to put names in this order in English writing in Japan. Chinese, Korean and other Asian names are put in the usual East Asian format, i.e. family name, then given name, unless someone is well known by the Western order of names...
2. Internationalization of Japanese Cinema: How Japan Was Different from the West and above Asia before Globalization

3. Globalization of Film Finance: The Actually Existing Cosmopolitanisms of Japanese Film Producers
For the down-and-out Japanese film industry of the 1980s, globalization and the arrival of the information age were a mixed blessing. All the big Japanese hardware companies suddenly became interested in film and other “software” businesses...

4. Global America?: American-Japanese Film Co-Productions from Shogun (1980) to The Grudge 2 (2006) via Lost in Translation (2003)
In their study of how Hollywood’s global domination works, Miller et al. argue that exploitation of the “New International Division of Cultural Labour” (NICL) through foreign location production is a key mechanism of its hegemony...

5. Pan-Asian Cinema?: The Last of Japan-Centred Regional Cosmopolitanism
This chapter explores the ways in which Japan’s perception of itself and its relationship with other Asian nations changed over the course of economic globalization and the consequent economic downturn, a change I will illustrate by taking examples from the Japanese...

Epilogue
Histrocally, the sense of Japanese national identity was sustained by its unique and privileged position between the “West” and “Asia”. Post-war Japanese cinema and industry also defined itself as “different” from the West, but “above” Asia. This ideological double-bind was internally challenged in the 1960s and 1970s by filmmakers...
E-ISBN-13: 9789888053872
Print-ISBN-13: 9789888083329
Page Count: 256
Illustrations: 30 black and white illustrations
Publication Year: 2011
Series Title: TransAsia: Screen Cultures
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