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Acknowledgments My earliest research into the subject of this book began more than twenty years ago. This book was made possible by the generous and tireless assistance of the staff of many libraries and collections including: the Special Collections and Theater Libraries at the University of California at Los Angeles, the University of California at Los Angeles Film and Television Archive, the Tsubouchi Memorial Theatre Museum (Waseda University), the Kawakita Memorial Film Institute, the Makino Collection, the Film Center Library at the National Museum of Modern Art, Tokyo, the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, the Louis B. Mayer Library of the American Film Institute, the Cinematic Arts Library of the University of Southern California, Shochiku Studios Library, the Japanese National Diet Library, the Library of Congress, the Chinese Taipei Film Archive Library, the Hong Kong Film Archive Library, The Museum of Kyoto, and Planet Bibliotheque de Cinema. Over the years, many people have supported this project in various ways providing useful criticisms as well as welcome advice. In Japan I would like to thank Hosokawa Shuhei, Iwamoto Kenji, Kano Masanao, the late Kurosawa Akira, Makino Mamoru, Nogami Teruyo, Sato Masaharu, the late Shimizu Akira, Tajima Ryoichi, the late Tsukada Yoshinobu, Yoshimi Shunya, and Yoshitsuru Yoshimitsu for selflessly sharing their time and insight with me. Outside Japan I would like to thank Nick Browne, Darrell Davis, the late William Everson, Elyssa Faison, Poshek Fu, James Goodwin, the late John Hampton, Jan-Christopher Horak, Iwasaki Shoichi, Joo Soowan, Kim Minkyu, Kim Soyoung, Thomas Lahusen, Sheldon Lu, Todd Mittleman, Mizuno Hiromi, Abe Mark Nornes, Remco Rabin, David Shepard, Mariko Tamanoi, Alan Tansman, and William Tsutsui. I wish to express my deepest thanks to Miriam Silverberg, Seiji Lippit, Carol Gluck, and Madge Huntington, who were always there to guide and support me in this project from the dissertation stage through to publication. My valued friend and colleague Barak Kushner of Cambridge University has been an invaluable influence on this project sharing both his expansive knowledge and humor to make writing this book a far more enjoyable and worthwhile process that it might have been. At several stages the work was supported by a generous fellowship from the viii acknowledgments Fulbright Foundation allowing me to conduct research in Japan, a summer grant from the University of Oregon, a Hall Center Fellowship and two travel grants from the University of Kansas, and three academic fellowships from the University of California at Los Angeles. I am very grateful to the film directors Hal Hartley and Mabel Cheung for giving me the opportunity of working as an assistant director and for their friendship. I would also like to thank my colleagues in the Department of Theatre and Film at the University of Kansas for their support. I also want to thank my graduate and undergraduate students who helped me think through many of the issues that I presented in the book. This book never would have been completed without the love and support of my families. In Japan, Hideo and Tomoko Kuroda were and are a constant source of much needed love, encouragement, and trust. Their spiritual and material support made all of this possible. In the United States, Don and Joyce Baskett also supported, encouraged, and in many ways inspired this project by instilling a deep love of film in me when I was a child. Throughout all of this Dariko has always supported me in every way and at all times. Over the years and through every challenge we have faced together her love and companionship have been the greatest constant in my life, inspiring me to want to become both a better person and a better scholar. Doriko, you’ll never know how glad I am that I met you. Finally, I wish to express my sincere gratitude to Patricia Crosby of the University of Hawai‘i Press for believing in and guiding this project through to completion . In addition, I wish to thank Margaret Black and Cheri Dunn and the two anonymous readers for their immeasurable patience and professionalism in helping me publish this during what turned out to be a particularly challenging time. While these people and institutions (and many more that I am unable to name for reasons of space) have contributed to this project, only I am responsible for any mistakes or errors in this work. Earlier versions of portions of chapter 4 have been previously published in different forms in the...

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