Japanese Cinema Goes Global

Contents

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Preface

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pp. vii-x

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...

Acknowledgements

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pp. xi-xii

I am grateful to my supervisor Professor Chris Berry, who encouraged and supported me all the way to publication of this book. I am also grateful to my original supervisor Professor Kevin Robins, who accepted me to the Department of Media and Communications...

Note on Romanization of Asian Names and Scripts

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pp. xiii-xiv

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...

Introduction

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pp. 1-8

This book investigates the ways in which inter/transnational filmmaking practices have been conducted in the Japanese film industry from the post-World War Two period to the present. By doing so, it provides an insight into the ways in which the Japanese...

1. Japanese National Identity and “Banal” Cosmopolitalization

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pp. 9-24

In the past, Japan has made a historic opening to the outside world three times. Aoki Tamotsu (1999), an anthropologist who probed the transfiguration of Nihonjinron...

2. Internationalization of Japanese Cinema: How Japan Was Different from the West and above Asia before Globalization

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pp. 25-74

3. Globalization of Film Finance: The Actually Existing Cosmopolitanisms of Japanese Film Producers

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pp. 75-112

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)

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pp. 113-144

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

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pp. 145-170

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

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pp. 171-174

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...

Notes

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pp. 175-178

List of Recorded Interviews

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pp. 179-180

References

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pp. 181-196

Index

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pp. 197-200