Japanese Cinema in the Digital Age

Index

171 INDEX Abe Casio, 13, 17, 23 Ace Pictures, 31 Agamben, Giorgio, 129 Allen, Michael, 61 Allison, Anne, 41–42 Altman, Rick, 48 Amamiya Karin, 70, 71 Amazing Lives of the Fast Food Grifters (Tachiguishi retsuden; Oshii), 76, 82–83, 84 Amazon.com, 48, 108 American culture, 5, 8–9, 30, 41–42, 120. See also Hollywood films Amino Yoshihiko, 132 animation: art, 89; artists, 19, 20, 89; Hollywood films, 74–75, 88; television programs, 76, 77, 86, 90, 107–108, 109–110 anime: audiences, 75, 81, 88, 95; digital technology used, 20, 83–85, 87, 94; discursive construction of, 76–80; distinction from animation, 74–75, 76, 88, 96; distribution technologies, 21, 81–82, 83–84, 87–88; diversity, 74, 75, 76, 88, 96; exhibitions, 79, 90; Japanese culture and, 77; media convergence and, 75, 80–83, 85, 86, 87–88, 95–96; otaku culture, 75, 137–138; personal production, 83–88, 96; product tie-ins, 19, 81; robot genre, 75, 81, 86; scholarship on, 74, 76–80, 89, 95, 151n8; studio productions , 80, 152n17; success, 21, 133; television programs, 43, 78, 81, 88; use of term, 151n2; videotapes , 43, 81, 95 An’no Hideaki, 19, 21, 75 Aoyama Shinji, 13 Appadurai, Arjun, 3, 5, 10, 11, 12 Argento, Dario, 40 Asako in Ruby Shoes (Sunaebo) (E. J-young), 105–107 Asia: DVD distribution, 45; film industries , 15–16, 138–139; horror films, 34, 45; Japanese films set in, bold page numbers refer to figures. 172 INDEX 22–23; Japanese views, 111, 118, 138; J-drama circulation, 16–17; migrant workers from, 23, 120; pan-Asianism, 3, 11, 23. See also individual countries assimilation, 4–5, 10, 11 Audition (Miike Takashi), 33 Azuma Hiroki, 16, 137–138 Barnouw, Eric, 53 Barsam, Richard, 53 Barthes, Roland, 61 Bartlett, Christopher A., 4 Bazin, André, 53 Berry, Chris, 52, 100 Blood and Bones (Chi to hone; Sai), 114– 116, 118–120, 122, 123–128, 126, 127, 129–130, 156n1 Bordwell, David, 41, 58–59, 76, 77 Borovoy, Amy, 124 Bourne, Randolph, 5 Brown, Steven T., 78–79, 80 Browne, Nick, 100 Bruzzl, Stella, 53 cameras: digital, 25, 38, 53, 61, 67, 70–71, 72; surveillance, 37–38 Carroll, Noël, 53 CGI. See computer-generated imagery Cheung, Esther M. K., 100 Chinese films: documentaries, 52–53, 66; transnational context, 98–101; Urban Generation, 20. See also Hong Kong cinema Chinese-language films, 15–16, 23, 45, 98–101, 109 Chow, Rey, 118, 157n9 Chu, Yiu-wai, 100 Chung, Hye Seung, 106–107 cinema complexes, 21–22, 56, 67, 134, 150n30. See also theaters Clements, Jonathan, 74 comics. See manga comics computer-generated imagery (CGI) effects, 28, 36, 74–75, 83, 87 Consins, Mark, 53 convergence. See media convergence Corrigan, Timothy, 35 Cortese, Amy, 11 Crane, Diana, 108 cultural imagination, 22–24, 115, 120, 123–125 culture, 12. See also popular culture; transnational culture Cupola, Where the Furnaces Glow (Kyupora no aru machi; Urayama), 121 Czach, Liz, 90 Danish cinema, 20, 102. See also Nordic cinema Davis, Darrell William, 15–16, 17 Desser, David, 100 Diffrient, David Scott, 106–107 digital errors, 36–37 digital technology: anime production, 20, 83–85, 87, 94; cameras, 25, 38, 53, 61, 67, 70–71, 72; CGI effects, 28, 36, 74–75, 83, 87; contents business, 16, 136–138; cost reductions , 15, 67; for documentaries, 54, 56, 67, 69; film editing, 35, 36, 56; genre films and, 24; graphic software, 20; impact, 19–22, 24, 45, 50; in J-horror, 34, 36, 37–38; media convergence and, 16–19, 87–88, 133–134, 135–136; mimicry of older technologies, 61; personal use, 85; piracy, 44, 45; projectors, 46; shift to, 30; V-CINEMA, 21; video compact discs, 16–17; video recording, 15, 19, 21, 38. See also DVDs; Internet directors, 18–19, 20, 24–25, 66, 70–71, 89, 91 Disney Company, 15, 74, 75, 76, 88, 96 documentaries: audiences, 67–68, 69; authenticity, 53, 54–55, 58; Chinese, 52–53, 66; contemporary, 52–56, 72–73; democracy of, 72; digital technology used, 54, 56, 67, 69; directors, 66; distinction from fiction films, 53; financing, 70, 150n38; foreign, 54, 67, 73; Japanese tradition, 52, 54–55, 148n4; personal, 52, 54–55, 56, 62–63, 66, 67, 68–72; PR films, 55, 66, 149n11; scholarship on, 53–55; INDEX 173 screenings in small theaters, 56, 67; by students, 67, 69–70; subgenres, 53, 56; for television...