In this Book

University of California Press
summary
Japan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the Pure Film Movement, changed not only the way films were made, but also how they were conceived. Looking closely at the work of critics, theorists, intellectuals, benshi artists, educators, police, and censors, Gerow finds that this trend established a way of thinking about cinema that would reign in Japan for much of the twentieth century.

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. Title Page, Copyright, Dedication
  2. pp. 2-7
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  1. Contents
  2. pp. vii-9
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  1. List of Illustrations
  2. pp. ix-x
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  1. Acknowledgments
  2. pp. xi-xiii
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  1. Introduction
  2. pp. 1-39
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  1. 1. The Motion Pictures as a Problem
  2. pp. 40-65
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  1. 2. Gonda Yasunosuke and the Promise of Film Study
  2. pp. 66-93
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  1. 3. Studying the Pure Film
  2. pp. 94-132
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  1. 4. The Subject of the Text: Benshi, Authors, and Industry
  2. pp. 133-173
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  1. 5. Managing the Internal
  2. pp. 174-221
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  1. Conclusion: Mixture, Hegemony, and Resistance
  2. pp. 222-234
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  1. Notes
  2. pp. 235-288
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  1. Selected Bibliography
  2. pp. 289-302
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  1. Index
  2. pp. 303-323
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  1. Production Notes
  2. pp. 324-339
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Additional Information

ISBN
9780520945593
Related ISBN
9780520254565
MARC Record
OCLC
649914405
Pages
344
Launched on MUSE
2014-01-01
Language
English
Open Access
No
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