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vi Contents The Precarious Life of a Japanese Resistance Cosmopolitan in Europe 97 Japanese Alternative Cinema and Cosmopolitanism 103 Chapter Four: Global America? — American-Japanese Film 113 Co-Productions from Shogun (1980) to The Grudge 2 (2006) via Lost in Translation (2003) The Production of Shogun (1980) 120 The Japanese Line Producer of Shogun — Hiroaki Fujii 123 The Production of Lost in Translation (2003) 126 The Japanese Line Producer of Lost in Translation — Kiyoshi Inoue 129 Comparing the Two Films and the Two Japanese Line Producers 132 Remaking Global Hollywood — Synopticon Control of Locals 135 Chapter Five: Pan-Asian Cinema? — The Last of Japan-Centred 145 Regional Cosmopolitanism The Japan-Hong Kong Interaction since the Late 1980s 149 Working In-between Japan and Hong Kong 154 The Undercurrent of Japan-China Interaction 159 Hybrid Regionalism Practised by East Asian Film Students 164 Epilogue 171 Notes 175 List of Recorded Interviews 179 References 181 Index 197 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 in terms of a world economy and market. I believe it is not an exaggeration to say that now the degree of success for Asian filmmakers is measured by the prizes they have won in international film festivals, and performances at box offices globally; and in this environment the national identity of cinema and filmmakers , and their relationship to the other and cultural otherness, is going through important changes. This process touches me personally and in this preface I would like to explain what motivated me to undertake this research. I was born in Japan and had become involved in so-called independent filmmaking in the early 1980s. The Japanese studio production systems had more or less collapsed in the 1970s and stopped producing films. Frustrated young wanna-be-filmmakers started making films in Super 8 and 16mm with their own backing outside the conventional film industry . This movement was called Jishu-eiga (independent or autonomous cinema) in Japanese. Like many film industries in other countries, the Japanese labour market for film production was rapidly flexiblyspecialized and media companies were conglomerated during the 1980s. In this short period between the collapse of the film industry in classic form and the re-establishment of it in the flexibly-specialized form, Jishu-eiga was invigorated and able to flourish. I started my career by working on these Jishu-eiga films as a cinematographer. Preface ...

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