Nippon Modern: Japanese Cinema of the 1920s and 1930s

Notes

139 Notes Introduction 1. Donald Kirihara, Patterns of Time: Mizoguchi and the 1930s (Madison: University of Wisconsin Press, 1992), David Bordwell, Ozu and the Poetics of Cinema (London : BFI Pub.; Princeton: Princeton University Press, 1988). As noted, there are numerous books on Kurosawa. Mitsuhiro Yoshimoto‘s Kurosawa: Film Studies and Japanese Cinema (Durham, N.C.: Duke University Press, 2000) is the most recent book-length work on the director. 2. Tanaka Jun’ichiro describes this period as follows: “From 1923 . . . Japanese cinema entered a period of transition from experimentation to growth, and many skilled filmmakers emerged in the film industry. Before the beginning of sound film, the industry reached the golden age of silent film [musei eiga no ogonki] around 1929 or 1930.” Tanaka Jun’ichiro, Nihon eiga hattatsushi (Japanese Film Development History ) (Tokyo: Chuo Koronsha, 1976), 2:12. 3. David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York: Columbia University Press, 1985), xiii, xiv. 4. Ibid., xiii. 5. Mono (literally, “matter” or “thing”) was traditionally used to categorize Kabuki plays, the functional equivalent of “genre” denotation in Japanese—for example, sewa-mono (a drama dealing with common people’s lives). The cinema later adapted this expression for film genres, such as yota-mono (film drama about hooligans), hahamono (film drama about mothers), and daigakusei-mono (film drama about college students). 6. The Lubitch film is If I Had a Million (United States, 1932), and it was released right before the production of Woman of Tokyo in Japan. The expression “mastering the master” is from Bordwell, Ozu and the Poetics of Cinema, 241. 7. Masao Miyoshi, Off Center: Power and Culture Relations between Japan and the United States (Cambridge, Mass.: Harvard University Press, 1991), 13–14; Miriam Hansen : “Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film as Vernacular Modernism,” Film Quarterly 54, no. 1:10–22, and “The Mass Production of the Senses: Classical Cinema as Vernacular Modernism,” in Reinventing Film Studies, ed. Christine Gledhill and Linda Williams (London: Arnold Publishing, 2000), 332–350. 8. Masao Miyoshi and H. D. Harootunian, “Introduction,” in Postmodernism and Japan, eds. Masao Miyoshi and H. D. Harootunian (Durham, N.C.: Duke University Press, 1989), vii–xix. 9. Yoshikuni Igarashi, Bodies of Memory: Narratives of War in Postwar Japanese Culture, 1945–1970 (Princeton: Princeton University Press, 2000), 3. 10. Ibid. 11. The description of the conceptual gap over the Meiji constitution between the Americans and the Japanese is detailed in John W. Dower’s Embracing Defeat: Japan in the Wake of World War II (New York: W. W. Norton/New Press, 1999), 346–352. 12. Elise K. Tipton and John Clark, “Introduction,” in Tipton and Clark, Being Modern in Japan, 9. 13. Fukuda Tsuneari, “Kindai no shukumei” (Destiny of Modernity), in Fukuda Tsuneari zenshu (Fukuda Tsuneari Collection) (Tokyo: Bungeishunjusha, 1987), 2:431–468. 14. Tsutsui Kiyotada, Showaki Nihon no kozo (Social Structure of Showa Japan) (Tokyo: Kodansha, 1996), 102. Translated by the author. 15. Etienne Balibar, “The Nation Form: History and Ideology,” in Race, Nation, Class: Ambiguous Identities, ed. Etienne Balibar and Immanuel Wallerstein (London: Verso, 1991), 96–97. 16. See Darrell William Davis, Picturing Japaneseness: Monumental Style, National Identity, Japanese Film (New York: Columbia University Press, 1996). 17. Balibar, “The Nation Form,” 97. 18. Ibid., 100. Chapter 1: The Creation of Modern Space 1. Scholars such as geographer Doreen Massey have noted the ambiguity of the concept of space. See her “Politics and Space/Time,” in Keith and Pile, Place and the Politics of Identity. 2. Kristin Thompson and David Bordwell, “Space and Narrative in the Films of Ozu,” Screen 17, no. 2 (1976): 41–73. 3. Ibid., 41. 4. Bordwell, Ozu and the Poetics of Cinema, 73–74. 5. Ibid., 74. 6. Thompson and Bordwell, 46. 7. Bordwell, Ozu and the Poetics of Cinema, 104. 8. Ibid., 143. 140 Notes to Pages 7–16 9. Ibid. 10. Stephen Heath, “Narrative Space,” in Narrative, Apparatus, Ideology, ed. Philip Rosen (New York: Columbia University Press, 1986), 409. 11. Ibid., 385. 12. Ibid., 409. 13. Bordwell, Ozu and the Poetics of Cinema, 106. 14. Ibid., 143. 15. The total number of moviegoers in Japan in 1929 was 192,494,256, and the number of movie theaters was 1,270. The total number of moviegoers in Tokyo in the same year was 36,693,311, and the number of theaters was 208...