What Is Japanese Cinema?, A History by Inuhiko, Yomota -- Read -- Imperial Library of Trantor

Index

Cover Title Page Copyright Dedication Contents Note on Names and Film Titles Preface to the English Translation Introduction

The Characteristics of Japanese Cinema Cinema as a Liminal Art Masumura Yasuzō’s Critique of Japanese Film Mixing with Neighboring Genres Connections with Traditional Theater The Origins of the Benshi Cultural Hybridity More Than One Wave The Reappearance of Forgotten Memories

1. Motion Pictures: 1896–1918

The Arrival of Cinema The First Footage Shot by a Japanese Person Connections with Mass Theater Issues of Nationalism Makino Shōzō: The First Director The Establishment of Nikkatsu The Significance of Benshi

2. The Rise of Silent Film: 1917–1930

The Pure Film Movement The Birth of Film Journalism The Arrival of Actresses The Self-Consciousness of Japanese Cinema Shōchiku’s Shōshimin Films Reforms at Nikkatsu Kinugasa Teinosuke Thrives Constructing Jidaigeki Tendency Films and Their Aftermath

3. The First Golden Age: 1927–1940

Initial Attempts at Talkies Making Real Talkies Gendaigeki with Topknots Cosmopolitan Shōchiku and Nativist Nikkatsu The Expanding World of Mizoguchi Kenji From PCL to Tōhō Coproduction with Nazi Germany

4. Japanese Cinema During Wartime

Setting Up the Wartime System The Characteristics of Japanese War Films Cinema and the “Overcoming Modernity” Debate The Disguise of Kamei Fumio How Film Directors Responded to Wartime

5. Film Production in the Colonies and Occupied Lands

The Film Industry in Taiwan Films to Enlighten the Taiwanese Natives Taiwanese Cinema After Liberation The Film Industry in Korea Korean Cinema’s Golden Age The Decline and Revival of Korean Film Establishing Manchurian Cinema The Emergence of Ri Kōran The End of Man’ei Chinese Film Studios in Shanghai Film Production in Southeast Asia

6. Japanese Cinema Under American Occupation: 1945–1952

Filmmakers at the End of the War What Were Japanese Filmmakers Doing When the War Ended? Censorship Under the Occupation Idea Films The Problem of War Responsibility What Kind of Films Did Individual Directors Shoot During This Period? The Rise of Kurosawa Akira

7. Toward a Second Golden Age: 1952–1960

The End of the Occupation System Shifts in War Films The Advance into International Film Festivals A Boom in Independent Productions Samurai and Kaiju at Tōhō Daiei Mother Films and Mizoguchi Kenji Shōchiku Melodrama: Kinoshita and Ozu Period Films at Tōei Nikkatsu’s Steady Advance

8. Upheaval Amid Steady Decline: 1961–1970

The Peak of the Studio System A Colorful Variety of Films at Tōhō Daiei’s Star System Ichikawa Kon and Masumura Yasuzō The Shōchiku Nouvelle Vague Shōchiku Turns Reactionary Tōei’s Idealized Gangsters Nikkatsu Borderless Action Film Nikkatsu’s Eccentric Geniuses Independent Production and ATG The King of Pink Film

9. Decline and Torpor: 1971–1980

Japanese Cinema During the Years of Lead Nikkatsu Roman Porno Youth Films at Nikkatsu Tōei: Without Honor or Humanity Shōchiku: The Empire of Yamada Yōji Veteran Directors Depict Women ATG as a Base for Protest Two Documentary Filmmakers

10. The Collapse of the Studio System: 1981–1990

Major Studios in Distress Changes to the System of Production, Distribution, and Exhibition New Directors with No Connection to the Studio System Return of the Directors of the 1960s A Flood of New Directors

11. The Indies Start to Flourish: 1991–2000

The Collapse of the Cinematic Bubble Increasing Internationalism Fragmenting Production Companies Encountering the Ethnic Other Memory and Nostalgia The Phenomenon of Kitano Takeshi

12. Within a Production Bubble: 2001–2011

Japanese Cinema Sinks Changes in the Mode of Production Melodrama and Historical Consciousness Woman Directors Appear on a Mass Scale The Rise of J-Horror Exposing Hidden History

Notes Index