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Theorizing Colonial Cinema is a millennial retrospective on the
entangled intimacy between film and colonialism from film's global
inception to contemporary legacies in and of Asia. The volume
engages new perspectives by asking how prior discussions on film
form, theory, history, and ideology may be challenged by centering
the colonial question rather than relegating it to the periphery.
To that end, contributors begin by excavating little-known archives
and perspectives from the colonies as a departure from a prevailing
focus on Europe's imperial histories and archives about the
colonies. The collection pinpoints various forms of devaluation and
misrecognition both in and beyond the region that continue to
relegate local voices to the margins. This pathbreaking study on
global film history advances prior scholarship by bringing together
an array of established and new interdisciplinary voices from film
studies, Asian studies, and postcolonial studies to consider how
the present is continually haunted by the colonial past.
Theorizing Colonial Cinema is a millennial retrospective on the
entangled intimacy between film and colonialism from film's global
inception to contemporary legacies in and of Asia. The volume
engages new perspectives by asking how prior discussions on film
form, theory, history, and ideology may be challenged by centering
the colonial question rather than relegating it to the periphery.
To that end, contributors begin by excavating little-known archives
and perspectives from the colonies as a departure from a prevailing
focus on Europe's imperial histories and archives about the
colonies. The collection pinpoints various forms of devaluation and
misrecognition both in and beyond the region that continue to
relegate local voices to the margins. This pathbreaking study on
global film history advances prior scholarship by bringing together
an array of established and new interdisciplinary voices from film
studies, Asian studies, and postcolonial studies to consider how
the present is continually haunted by the colonial past.
This book will explore these issues of auteurship and stardom in
the films of Kitano Takeshi especially as they relate to problems
of personal and national identity in a Japan confronting an age of
globalization. Starting in his early days as one side of a stand-up
comedy duo, Kitano has used pairs throughout his films to deftly
play out a liminal space between cinema and television, traditional
and modern, Japan and the world. Combining a detailed account of
the situation in Japanese film and criticism with unique close
analyses of Kitano's films from Violent Cop to Takeshis, the
author, a renowned expert on Japanese cinema who himself
participated in the debates about Kitano in Japan, relates the
director to issues of contemporary cinema, Japanese national
identity, and globalism.
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.
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Early Cinema in Asia (Hardcover)
Nick Deocampo; Contributions by Charles Musser, Stephen Bottomore, Aaron Gerow, Wimal Dissanayake, …
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R2,563
R2,369
Discovery Miles 23 690
Save R194 (8%)
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Ships in 12 - 17 working days
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Early Cinema in Asia explores how cinema became a popular medium in
the world's largest and most diverse continent. Beginning with the
end of Asia's colonial period in the 19th century, contributors to
this volume document the struggle by pioneering figures to
introduce the medium of film to the vast continent, overcoming
geographic, technological, and cultural difficulties. As an early
form of globalization, film's arrival and phenomenal growth
throughout various Asian countries penetrated not only colonial
territories but also captivated collective states of imagination.
With the coming of the 20th century, the medium that began as mere
entertainment became a means for communicating many of the cultural
identities of the region's ethnic nationalities, as they turned
their favorite pastime into an expression of their cherished
national cultures. Covering diverse locations, including China,
India, Japan, Philippines, Malaysia, Thailand, Iran, and the
countries of the Pacific Islands, contributors to this volume
reveal the story of early cinema in Asia, helping us to understand
the first seeds of a medium that has since grown deep roots in the
region.
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Early Cinema in Asia (Paperback)
Nick Deocampo; Contributions by Charles Musser, Stephen Bottomore, Aaron Gerow, Wimal Dissanayake, …
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R1,061
Discovery Miles 10 610
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Ships in 12 - 17 working days
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Early Cinema in Asia explores how cinema became a popular medium in
the world's largest and most diverse continent. Beginning with the
end of Asia's colonial period in the 19th century, contributors to
this volume document the struggle by pioneering figures to
introduce the medium of film to the vast continent, overcoming
geographic, technological, and cultural difficulties. As an early
form of globalization, film's arrival and phenomenal growth
throughout various Asian countries penetrated not only colonial
territories but also captivated collective states of imagination.
With the coming of the 20th century, the medium that began as mere
entertainment became a means for communicating many of the cultural
identities of the region's ethnic nationalities, as they turned
their favorite pastime into an expression of their cherished
national cultures. Covering diverse locations, including China,
India, Japan, Philippines, Malaysia, Thailand, Iran, and the
countries of the Pacific Islands, contributors to this volume
reveal the story of early cinema in Asia, helping us to understand
the first seeds of a medium that has since grown deep roots in the
region.
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.
Divided Lenses: Screen Memories of War in East Asia is the first
attempt to explore how the tumultuous years between 1931 and 1953
have been recreated and renegotiated in cinema. This period saw
traumatic conflicts such as the Sino-Japanese War, the Pacific War,
and the Korean War, and pivotal events such as the Rape of Nanjing,
Pearl Harbor, the Battle of Iwo Jima, and the bombings of Hiroshima
and Nagasaki, all of which left a lasting imprint on East Asia and
the world. By bringing together a variety of specialists in the
cinemas of East Asia and offering divergent yet complementary
perspectives, the book explores how the legacies of war have been
reimagined through the lens of film. This turbulent era opened with
the Mukden Incident of 1931, which signaled a new page in Japanese
militaristic aggression in East Asia, and culminated with the
Korean War (1950–1953), a protracted conflict that broke out in
the wake of Japan's post–World War II withdrawal from Korea.
Divided Lenses explores the ways in which events of the intervening
decades have continued to shape politics and popular culture
throughout East Asia and the world. The essays in part I examine
historical trends at work in various ""national"" cinemas,
including China, Taiwan, Japan, Korea, and the United States. Those
in part 2 focus on specific themes present in the cinema portraying
this period—such as comfort women in Chinese film, the Nanjing
Massacre, or nationalism—and how they have been depicted or
renegotiated in contemporary films. Of particular interest are
contributions drawing from other forms of screen culture, such as
television and video games. Divided Lenses builds on the growing
interest in East Asian cinema by examining how these historic
conflicts have been imagined, framed, and revisited through the
lens of cinema and screen culture. It will interest later
generations living in the shadow of these events, as well as
students and scholars in the fields of cinema studies, cultural
studies, cold war studies, and World War II history.
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