Abstract

This essay offers a reading of Kinugasa Teinosuke's independent silent films as responses to the traumatic experience of twentieth-century modernity. Of particular interest are the global and local intertexts in A Page of Madness and Crossways, their connections to the literary criticism of the shinkankakuha, or New Perception school, and the centrality of sensory perception in Kinugasa's work.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 59-78
Launched on MUSE
2004-05-27
Open Access
No
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