Engaging some of the most ground-breaking and thought-provoking anime, manga, and science fiction films, "Tokyo Cyberpunk" offers insightful analysis of Japanese visual culture. Steven T. Brown draws new conclusions about electronically mediated forms of social interaction, as well as specific Japanese socioeconomic issues, all in the context of globalization and advanced capitalism. Penetrating and nuanced, this book makes a major contribution to the debate about what it means to be human in a posthuman world.

Japanese Horror and the Transnational Cinema of Sensations undertakes a critical reassessment of Japanese horror cinema by attending to its intermediality and transnational hybridity in relation to world horror cinema. Neither a conventional film history nor a thematic survey of Japanese horror cinema, this study offers a transnational analysis of selected films from new angles that shed light on previously ignored aspects of the genre, including sound design, framing techniques, and lighting, as well as the slow attack and long release times of J-horror's slow-burn style, which have contributed significantly to the development of its dread-filled cinema of sensations.

Engaging some of the most ground-breaking and thought-provoking anime, manga, and science fiction films, "Tokyo Cyberpunk" offers insightful analysis of Japanese visual culture. Steven T. Brown draws new conclusions about electronically mediated forms of social interaction, as well as specific Japanese socioeconomic issues, all in the context of globalization and advanced capitalism. Penetrating and nuanced, this book makes a major contribution to the debate about what it means to be human in a posthuman world.

This collection charts the terrain of contemporary Japanese animation, one of the most explosive forms of visual culture to emerge at the crossroads of transnational cultural production in the last twenty-five years. The essays offer bold and insightful engagement with anime's concerns with gender identity, anxieties about body mutation and technological monstrosity, and apocalyptic fantasies. The contributors dismantle the distinction between "high" and "low" culture and offer compelling arguments for the value and importance of the study of anime and popular culture as a key link in the translation from the local to the global.

This collection charts the terrain of contemporary Japanese animation, one of the most explosive forms of visual culture to emerge at the crossroads of transnational cultural production in the last twenty-five years. The essays offer bold and insightful engagement with anime's concerns with gender identity, anxieties about body mutation and technological monstrosity, and apocalyptic fantasies of the end of history. The contributors dismantle the distinction between 'high' and 'low' culture and offer compelling arguments for the value and importance of the study of anime and popular culture as a key link in the translation from the local to the global.

Japanese Horror and the Transnational Cinema of Sensations undertakes a critical reassessment of Japanese horror cinema by attending to its intermediality and transnational hybridity in relation to world horror cinema. Neither a conventional film history nor a thematic survey of Japanese horror cinema, this study offers a transnational analysis of selected films from new angles that shed light on previously ignored aspects of the genre, including sound design, framing techniques, and lighting, as well as the slow attack and long release times of J-horror's slow-burn style, which have contributed significantly to the development of its dread-filled cinema of sensations.

Through an extended reading of the noh play "Aoi ne Ue," as well as briefer examinations of several other plays, "Theatricalities of Power" sheds new light on the circulation of power and desire in the middle and late medieval periods in Japan. The author argues that, rather than simply mirroring the sociopolitical contexts in which they were performed, these plays constituted an active, productive force in the theater of the medieval cultural imaginary by engaging specific sociopolitical issues and problems.
Neither reducing noh to its theatrical conventions nor abstracting its style and poetics from its performativity, the book reads noh differently, opening the performance text to its historically specific contexts. It aims not merely to recount the history "of" noh, but to investigate the history "in" noh, to explore "the indecision as to the limit" between the performance text of noh and its other.
The author approaches noh as a site of conflict framed by the mechanisms of patronage within which poetic, religious, political, and economic discourses are brought together in complex and innovative ways. He brings to the fore the "micropolitics of culture" operative in noh by ferreting out the power relations and tensions at play between noh texts and their institutions of support and by opening noh to extradramatic linkages with contemporaneous figurations of authority, change in legal codes, and sexual politics.