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The Japanese Cinema Book provides a new and comprehensive survey of
one of the world's most fascinating and widely admired filmmaking
regions. In terms of its historical coverage, broad thematic
approach and the significant international range of its authors, it
is the largest and most wide-ranging publication of its kind to
date. Ranging from renowned directors such as Akira Kurosawa to
neglected popular genres such as the film musical and encompassing
topics such as ecology, spectatorship, home-movies, colonial
history and relations with Hollywood and Europe, The Japanese
Cinema Book presents a set of new, and often surprising,
perspectives on Japanese film. With its plural range of
interdisciplinary perspectives based on the expertise of
established and emerging scholars and critics, The Japanese Cinema
Book provides a groundbreaking picture of the different ways in
which Japanese cinema may be understood as a local, regional,
national, transnational and global phenomenon. The book's
innovative structure combines general surveys of a particular
historical topic or critical approach with various micro-level case
studies. It argues there is no single fixed Japanese cinema, but
instead a fluid and varied field of Japanese filmmaking cultures
that continue to exist in a dynamic relationship with other
cinemas, media and regions. The Japanese Cinema Book is divided
into seven inter-related sections: * Theories and Approaches * *
Institutions and Industry * * Film Style * * Genre * * Times and
Spaces of Representation * * Social Contexts * * Flows and
Interactions
The film star is not simply an actor but a historical phenomenon
that derives from the production of an actor's attractiveness, the
circulation of his or her name and likeness, and the support of
media consumers. This book analyzes the establishment and
transformation of the transnational film star system and the
formations of historically important film stars--Japanese and
non-Japanese--and casts new light on Japanese modernity as it
unfolded between the 1910s and 1930s. Hideaki Fujiki illustrates
how film stardom and the star system emerged and evolved, touching
on such facets as the production, representation, circulation, and
reception of performers' images in films and other media. Examining
several individual performers--particularly benshi narrators, Onoe
Matsunosuke, Tachibana Teijiro, Kurishima Sumiko, Clara Bow, and
Natsukawa Shizue--as well as certain aspects of different star
systems that bolstered individual stardom, this study foregrounds
the associations of contradictory, multivalent social factors that
constituted modernity in Japan, such as industrialization,
capitalism, colonialism, nationalism, and consumerism. Through its
nuanced treatment of the production and consumption of film stars,
this book shows that modernity is not a simple concept, but an
intricate, contested, and paradoxical nexus of diverse social
elements emerging in their historical contexts.
Film has always been a key technology for producing and
disseminating attachments to 'the social.' Making Audiences
explores the century-old relationships between Japanese media and
social subjects, analyzing the connections between cinema audiences
and five significant discursive terms: minshu (the people), kokumin
(the national populace), toa minzoku (the East Asian race), taishu
(the masses), and shimin (citizens). Fujiki narrates the history of
Japan's transmedia ecology, illuminating cinema's enmeshment with
other forms of media, from vaudeville to the internet, so that
cinema audiences emerge as simultaneously shaped by and shaping
social history. His extensive empirical research and commitment to
interdisciplinarity bring new perspective to the history of
Japanese society and culture in its global context from the early
twentieth century up to the beginning of the twenty-first century,
setting his insights within the context of total wars, imperialism,
gender, ethnicity, mass society and communication, the ethics of
care, citizenship, globalization, neoliberalism, social movements,
digital media, and public and intimate spheres. By reorganizing the
study of film and its audiences as central players of the history
and politics of the 20th century, Fujiki writes the history of
Japan and East Asia anew.
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