The reality of transnational innovation and dissemination of new technologies, including digital media, has yet to make a dent in the deep-seated culturalism that insists on reinscribing a divide between the West and Japan, even in realms of technological activity that are quite evidently dispersed across cultures. Film and media studies are not immune to this trend. They continue to fret over the "Westernness" of film technologies vis-a-vis the apparently self-evident "Japaneseness" of other modes of cultural production. The main goal of The Oxford Handbook of Japanese Cinema is to counter this trend toward dichotomizing the West and Japan and to challenge the pervasive culturalism of today's film and media studies. This volume addresses productive debates about what Japanese cinema is, where Japanese cinema is, and where Japanese cinema is going at the period of crisis of national boundary under globalization. In order to do so, this volume attempts to foster dialogue between Japanese scho
Daisuke Miyao is Assistant Professor of Film at the University of Oregon. He is the author of Sessue Hayakawa: Silent Cinema and Transnational Stardom, which was awarded the 2007 Book Award in History from the Association of Asian American Studies.
Introduction ; Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema Studies ; Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film Studies (Eric Cazdyn) ; Chapter 2: Triangulating Japanese Film Style (Ben Singer) ; Chapter 3: Critical Reception: Historical Conceptions of Japanese Film Criticism (Aaron Gerow) ; Chapter 4: Creating the Audience: Cinema as Popular Recreation and Social Education in Modern Japan (Hideaki Fujiki) ; Part 2: What Is Japanese Cinema?: Japanese Cinema and the Transnational Network ; Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine) ; Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in Japanese Cinema (Chika Kinoshita) ; Chapter 7 Nationalizing Madame Butterfly: The Formation of Female Stars in Japanese Cinema (Daisuke Miyao) ; Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film Spectatorship, and the Formation of National Cinema in Korea under Japanese Colonial Rule (Dong Hoon Kim) ; Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan, 1952-1962 (Hiroshi Kitamura) ; Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung Lo) ; Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia and Japan's Re-entrance to the Regional Film Industry in the 1950s (Sang Joon Lee) ; Chapter 12 Yamagata - Asia - Europe: International Film Festival Short-Circuit (Abe Mark Nornes) ; Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial Practices ; Chapter 13 Nitrate Film Production in Japan: a Historical Background of the Early Days (Okada Hidenori - Translated by Ayako Saito) ; Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa Shuhei) ; Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis) ; Chapter 16 Occupation and Memory: the Representation of Woman's Body in Postwar Japanese Cinema (Ayako Saito) ; Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961) (Mitsuyo Wada-Marciano) ; Chapter 18 By Other Hands: Environment and Apparatus in 1960s Intermedia (Myriam Sas) ; Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas) ; Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric Economy of World (Alexander Zahlten)