This book draws attention to a striking aspect of contemporary Japanese culture: the prevalence of discussions and representations of "spirits" (tama or tamashii). Ancestor cults have played a central role in Japanese culture and religion for many centuries; in recent decades, however, other phenomena have expanded and diversified the realm of Japanese animism. For example, many manga, anime, TV shows, literature, and art works deal with spirits, ghosts, or with an invisible dimension of reality. International contributors ask to what extent these are cultural forms created by the media for consumption, rather than manifestations of "traditional" ancestral spirituality in their adaptations to contemporary society. Spirits and Animism in Contemporary Japan considers the modes of representations and the possible cultural meanings of spirits, as well as the metaphysical implications of contemporary Japanese ideas about spirits. The chapters offer analyses of specific cases of "animistic attitudes" in which the presence of spirits and spiritual forces is alleged, and attempt to trace cultural genealogies of those attitudes. In particular, they present various modes of representation of spirits (in contemporary art, architecture, visual culture, cinema, literature, diffuse spirituality) while at the same time addressing their underlying intellectual and religious assumptions.

David Romtvedt's No Way: An American ""Tao Te Ching"" explores the art of living in the fast-paced, dangerous, unpredictable contemporary world. Lucid and wise in the spirit of its ancient Chinese predecessor, No Way functions as a kind of offbeat-yet-deadly-serious manual on the conduct of life. This slightly tongue-in-cheek take on the Tao's advice acknowledges that nobody likes being told how to live, least of all the author himself. With an openness to complexity and mystery, in tones that range from cool to passionate, No Way brings the Tao into the social turmoil of a twenty-first-century United States beset by political strife, mass shootings, and financial greed. Romtvedt combats cynicism and malaise with wry verse that positions itself in the role of the trickster. The voice of these poems can be serious and contradictory yet also humorous and welcoming. By suggesting that the days of the ancient Tao are gone for good, No Way offers readers an invitation to guide themselves forward, free of sages and rulers.

Bringing together the innovative work of scholars from a variety of disciplines, Matsuri and Religion explores festivals in Japan through their interconnectedness to religious life in both urban and rural communities. Each chapter, informed by extensive ethnographic engagement, focuses on a specific festival to unpack the role of religion in collective ritualized activities. With attention to contemporary performance and historical transformation, the study sheds light on understandings of change, identity and community, as well as questions regarding intangible cultural heritage, tourism, and the intersection of religion with politics. Read as a whole, the volume provides a uniquely multi-sited ethnographic, historical, and theoretical study, contributing to discourses on religion and festival/ritual/performance in Japan and elsewhere around the globe.

Eastern Approaches to Western Film: Asian Aesthetics and Reception in Cinema offers a renewed critical outlook on Western classic film directly from the pantheon of European and American masters, including Alfred Hitchcock, George Lucas, Robert Bresson, Carl Dreyer, Jean-Pierre Melville, John Ford, Leo McCarey, Sam Peckinpah, and Orson Welles. The book contributes an "Eastern Approach" into the critical studies of Western films by reappraising selected films of these masters, matching and comparing their visions, themes, and ideas with the philosophical and paradigmatic principles of the East. It traces Eastern inscriptions and signs embedded within these films as well as their social lifestyle values and other concepts that are also inherently Eastern. As such, the book represents an effort to reformulate established discourses on Western cinema that are overwhelmingly Eurocentric. Although it seeks to inject an alternative perspective, the ultimate aim is to reach a balance of East and West. By focusing on Eastern aesthetic and philosophical influences in Western films, the book suggests that there is a much more thorough integration of East and West than previously thought or imagined.