Bibliography

Bibliography

Kore-eda Hirokazu (Sources about his films)

Anderson, Jason. “The Third Murder” (review). Sight and Sound, 2017, 52–53. Andrews, Mallory. Shoplifters (review). Cinema Scope (online, Cannes), 2018. http://cinema-scope.com/spotlight/shoplifters-kore-eda-hirokazu-japan/. Batchelor, Tom. “Cannes 2018: Hirokazu Kore-eda’s Shoplifters Wins Palme d’Or Award.” The Independent, May 19, 2018. https://www.independent.co.uk/ arts-entertainment/films/news/shoplifters-palme-dor-cannes-hizokazu-kore- eda-award-blackkklansman-spike-lee-a8359736.html. Bertolé, Claudia. Splendidi riflessi di ciò che ci manca: Il cinema de Koreeda Hirokazu. Piombino: Edizioni Il Foglio, 2013. Blair, Gavin. “Japan’s Prime Minister Snubs Cannes Palme D’Or Winner.” Holly- wood Reporter, May 31, 2018. ———. “I Try to Avoid Being Slushy: Director Hirokazu Kore-eda on His Foreign-Language Oscar Hopeful: Shoplifters.” Hollywood Reporter, January 6, 2019. https://www.hollywoodreporter.com/news/shoplifters-director- responds-controversy-japans-oscar-contender-1172640. Bordwell, David. http://www.davidbordwell.net/blog/2017/09/12/venice- 2017-crimes-no-misdemeanors/ (The Third Murder). http://www. davidbordwell.net/blog/category/national-cinemas-japan/ (Shoplifters). ———. “Five Lessons from Stealth Poetics.” In The Poetics of Chinese Cinema, edited by Gary Bettinson and James Udden, 15–29. New York: Palgrave, 2016. Boscarol, Matteo. “Caminando, como faceva Ozu.” Manifesto, September 17, 2008.

© The Editor(s) (if applicable) and The Author(s), under 271 exclusive license to Springer Nature Switzerland AG 2019 L. C. Ehrlich, The Films of Kore-eda Hirokazu, East Asian Popular Culture, https://doi.org/10.1007/978-3-030-33051-4 272 BIBLIOGRAPHY

Bradshaw, Peter. “Nobody Knows (review).” The Guardian, May 14, 2004. https://www.theguardian.com/film/2004/may/14/cannes2004. cannesfilmfestival. ———. “Mysteries and Miracles (review of Kiseki).” The Guardian,February7, 2013, 14. https://www.theguardian.com/film/2013/feb/07/i-wish-review. ———. “Hirokazu Kore-eda: They Compare Me to Ozu…But I’m More Like Ken Loach.” The Guardian, 2015. https://www.theguardian.com/film/2015/ may/21/hirokazu-kore-director-our-little-sister-interview. ———. “The Third Murder (review): Death-Sentence Drama Leaves You Hang- ing.” The Guardian, September 14, 2017. https://www.theguardian.com/ film/2017/sep/14/third-murder-review-toronto-film-festival-tiff. ———. “Kore-eda’s Audacious Latest Steals the Heart.” The Guardian, November 21, 2018. https://www.theguardian.com/film/2018/nov/21/ shoplifters-review-hirokazu-kore-eda. Brown, Georgia. “Ghosts (review of Maborosi).” The Village Voice,10September 1996, XLI(37). Cacoulidis, Cleo. “Talking to Hirokazu Kore-eda: On Maborosi, Nobody Knows, and other Pleasures.” Bright Lights Film Journal, February 1, 2005. Cannon, Kristopher L. “Ec-Static Air: The Unseeable Sounds of Being Beside One- self.” Discourse 38, no. 2 (Spring 2016): 265–280 (About Air Doll). Cardullo, Bert. “Life and Nothing But.” The Hudson Review 51, no. 2 (Summer 1998): 409–416. Carew, Anthony. “Communal Complicity: Family and Fairness in Hirokazu Koreeda’s Shoplifters and The Third Murder.” Metro Magazine 199 (2019): 58+. Gale Academic Onefile. Centeno, Marcos. “Kore-eda’s Our Little Sister: A Return to Japanese Classicism.” Film Comment 40 (2016): 3. https://quod.lib.umich.edu/f/fc/13761232. 0040.312/--kore-edas-our-little-sister-a-return-to-japanese-classicism?rgn= main;view=fulltext. Chang, Justin. “A Quiet Mastery of Cinema: Japanese Director Hirokazu Kore-eda Is Being Honored with a Career Retrospective.” Los Angeles Times, October 25, 2017, E1. ———. “Hirokazu Kore-eda Carries on Through Success and Sadness with the Release of His Palme d’Or Winner Shoplifters.” Los Angeles Times, November 23, 2018. https://www.latimes.com/entertainment/movies/la-ca- mn-shoplifters-hirokazu-koreeda-20181123-story.html. Churi, Maya. “Hirokazu Kore-eda Remembers AfterLife.” IndieWire, May 12, 1999, 12. https://www.indiewire.com/1999/05/interview-hirokazu-kore- eda-remembers-afterlife-82267/. Clarke, Roger. “Film: This Thought Will Stay with You for a Very Long Time.” The Independent, September 24, 1999. https://www.independent.co.uk/ BIBLIOGRAPHY 273

arts-entertainment/film-this-thought-will-stay-with-you-for-a-very-long-time- 1121413.html. Collin, Robbie. “Like Father Like Son review.” The Telegraph, October 11, 2013. ———. “Shoplifters Review: Hirokazu Koreeda’s Palme d’Or Winner Is a Thrilling, Beautiful Tale of Tokyo’s Downs-and-Outs.” The Telegraph, May 19, 2018. https://www.independent.ie/entertainment/movies/movie- reviews/shoplifters-review-a-film-of-rare-depth-and-quality-37558391.html. Croll, Ben. “Hirokazu Koreeda on Shoplifters, Polemics, Shooting in France.” Vari- ety, September 23, 2018. https://variety.com/2018/film/festivals/hirokazu- kore-eda-shoplifters-donostia-award-san-sebastian-1202954169/. Cronk, Jordan. “After the Storm.” Cinema Scope TIFF 2016 online review. http://cinema-scope.com/cinema-scope-online/storm-kore-eda-hirokazu- japan-masters/. Daly, Fergus. “Immanence and Transcendence in the Cinema of Nature.” Philos- ophy, Criticism and Film 11 (December 2000). http://sensesofcinema.com/ 2000/philosophy-criticism-film/nature/. Dargis, Manohla. “Buried Heartaches Rise at a Quiet Family Reunion (review of Still Walking).” New YorkTimes, August 27, 2009. https://www.nytimes.com/ 2009/08/28/movies/28still.html. ———. “Detours on the Road to a Family Reunion (review of IWish).” The New York Times, May 11, 2012, C2. https://www.nytimes.com/2012/05/ 11/movies/i-wish-directed-by-hirokazu-kore-eda.html. ———. “In The Third Murder, Guilty as Charged Isn’t the Whole Story.” New York Times, July 18, 2018. https://www.nytimes.com/2018/07/18/movies/ review-third-murder-koreeda.html. ———. “A Family That Steals Together, Stays Together.” New York Times, Novem- ber 22, 2018. https://www.nytimes.com/2018/11/22/movies/shoplifters- review.html. Desser, David. “The Imagination of the Transcendent—Kore-eda Hirokazu’s Maborosi (1995).” In Japanese Cinema: Texts and Contexts, edited by Alastair Phillips and Julian Stringer, 273–283. London and New York: Routledge, 2007. ———. “After Life: History, Memory, Trauma and the Transcendent.” Film Criti- cism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu) (Winter/Spring 2011), edited by Arthur Nolletti, Jr., 46–65. Domenig, Von Roland. “Die Macht der Erinnerung: Nobody Knows der Filmemacher Koreeda Hirokazu.” In Viennale Retrospective, 203–207. Vienna, Austria, 2004. Echart, Pablo, and Miguel Muñoz-Garnica. “Infancia y desestructuración famil- iar en el cine de Hirokazu Kore-eda: Nadie sabe, Milagro, y De Tal Padre, Tal Hijo/ Childhood and Family Destructuring in the Films of Hirokazu Kore-eda: Nobody Knows, I Wish, and Like Father Like Son.” Fotocinema 274 BIBLIOGRAPHY

14 (January 2017): 313–339. http://www.revistafotocinema.com/index.php? journal=fotocinema&page=article&op=view&path%5B%5D=411. Ehrlich, Linda. “The Filmmaker as Listener: A New Look at Kore-eda.” Cinemaya 61–62 (2003–2004), 38–45. With Kishi Yoshiko. ———. “Kore-eda Hirokazu: New Visions, New Choices.” Viennale Retrospective, 208–212. Vienna, Austria, 2004. ———. Dare mo shiranai (Nobody Knows [review]), Film Quarterly 59, no. 2 (Winter 2005–2006): 45–50. http://fq.ucpress.edu/content/59/2/45. ———. “Kore-eda Hirokazu y el gesto resonante.” The Catalogue of 8 Festival Inter- nacional de Cine/Las Palmas de Gran Canaria (2007): 9–17. ———. “Kore-eda’s Ocean View.” Film Criticism (special issue on Japanese film director Kore-eda Hirokazu) XXXV, nos. 2–3 (Winter/Spring 2011): 127–146. ———. Full-Length Commentary. Maborosi no hikari (Milestone Film and Video), 2017. ———. “Kannon-sama and the Spirit of Compassion in Japanese Cinema.” In Goddesses: Dialectics of the Feminine in Japanese Audiovisual Culture,editedby Lorenzo Torres, 1–16. Lexington Press, 2018. ———. “Turning Away from the Fire: A New Look at the Films of Kore-eda Hirokazu.” Framework: The Journal of Cinema and Media 60, no. 1 (Spring 2019): 116–140. Elley, Derek. “After Life.” Variety, September 21, 1998, 2. https://variety.com/ 1998/film/reviews/after-life-2-1200455115/. ———. “Air Doll: A Beautifully Lensed and Charmingly Played Modern Fairy Tale.” Variety, May 15, 2009. https://variety.com/2009/film/markets- festivals/air-doll-1200474865/. Ellis, Jonathan. “After Life.”Film Quarterly 57, no. 1 (2003): 36. http://fq. ucpress.edu/content/57/1/32. Fainaru, Dan. “Air Doll/K¯uki ningy¯o.” Screen Daily, May 15, 2009. https://www. screendaily.com/features/air-doll-kuki-ningyo/5001156.article. Fujimoto Nami. “Voices Trying to Reach Out (about Still Walking).” Record of Clinical-Philosophical Pedagogy 14 (August 9, 2019): 93–95. Gang Dong-won. “Eiz¯onoterre.” Kore-eda Hirokazu: Mata Koko kara Hajimaru (special issue). Kawade Yume Mukku, 2017. García, María. “After Life.” Film Journal International, November 2, 2004. Gerow, Aaron, and Tanaka Junko. “Documentarists of Japan #12: Kore-eda Hirokazu.” Documentary Box, 1999, 13. https://www.yidff.jp/docbox/13/ box13-1-e.html. Gerow, Aaron. “The Breakdown of a Tiny, Insular World.” Special to The Daily Yomiuri, August 5, 2004. ———. Tangemania (BLOG) “Koreeda Hirokazu at Yale, Days One and Two.” http://www.aarongerow.com/news/koreeda-hirokazu-at-yale-da.html; http://www.aarongerow.com/news/koreeda-hirokazu-at-yale-da-2.html. BIBLIOGRAPHY 275

Goi, Leonardo. “The Third Murder—Masters.” Cinema Scope online review (TIFF 2017). http://cinema-scope.com/cinema-scope-online/the-third-murder- hirokazu-kore-eda-japan-masters/. Gondry, Michel. “Kore-eda no eiga wa: boku no tomodachi.” In Kore-eda Hirokazu: Mata Koko kara Hajimaru (special issue). Kawade Yume Mukku, 2017. Goto Miyabi. “Shoplifters (review).” The Popular Culture Studies Journal 7, no. 1 (2019): 218–220. Goudet, Stéphane, and Hubert Niogret. “Liens du sang ou liens du temps?” Positif 694 (December 2018): 31–34. Hodson, Richard. “Kore-eda’s Nobody Knows: The Structure of a Fictional Documentary.” Journal of the Faculty of Global Communication. Nagasaki: University of Nagasaki 13, 2012. http://reposit.sun.ac.jp/dspace/bitstream/ 10561/918/1/v13p19_hodson.pdf. Holden, Stephen. “Suicide, Mourning and a Different Sense of Reality.” The New York Times, March 25, 1996. https://www.nytimes.com/1996/03/26/ movies/film-festival-review-suicide-mourning-and-a-different-sense-of-reality. html. ———. “In Death, a Fond Remembrance of Things Past.” New York Times, May 12, 1999, E5. https://www.nytimes.com/1999/05/12/movies/film-review- in-death-a-fond-remembrance-of-things-past.html. Hori Kaoru. “Kore-eda Hirokazu kantoku aete kaisha miman no kaisha o mezasu,- originaru no eiga sakuhin o umidashitsuzukeru soshikizukuri to wa.” Think About, December 7, 2017. Houpt, Simon. “All in the Family.” The Globe and Mail, December 22, 2018. Toronto: R4. Hudson, David. “Venice+Toronto 2017: The Third Murder.” The Daily: On Film, September 10, 2017. https://www.criterion.com/current/posts/4918- venice-toronto-2017-the-third-murder. Ide, Wendy. “After the Storm review—Bittersweet Family Comedy.” The Observer, June 4, 2017, 24. https://www.theguardian.com/film/2017/jun/04/after- the-storm-review-bittersweet-family-comedy-hirokazu-koreeda. Iles, Tim. “The Light of Life and Death—The Function of Cinematography and Lighting in Two Films by Kore-eda Hirokazu.” Asian Cinema (2005): 205–219. Ishitobi Noriki. “Cannes Winner Kore-eda Says He Will Not Give in to Public Criticism.” The Asahi Shimbun, July 20, 2018. http://www.asahi.com/ajw/ articles/AJ201807200003.html. ———. “Geijutsu josei ‘Kuni no hodokoshi de wa nai’: Kore-eda Hirokazu ga kataru, enj¯o.” Asahi shimbun digital. Itakura Kimie. “Koreeda Interview.” Asahi Evening News, May 12, 1999. 276 BIBLIOGRAPHY

Izawa Takuya. “Palme D’Or-winning Director Kore-eda Refuses Invitation from Japan Culture Ministry.” The Mainichi, June 8, 2018. https://mainichi.jp/ english/articles/20180716/p2a/00m/0na/013000c. Jacoby, Alexander. A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day. Berkeley: Stone Bridge Press, 2008. ———. “Why Nobody Knows—Family and Society in Modern Japan.” Film Criti- cism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu) (Winter/Spring 2011), edited by Arthur Nolletti, Jr., 66–83. ———. “Is Blood Enough? Kore-eda Hirokazu on Makeshift Families and Shoplifters.” BFI, November 23, 2018. https://www.bfi.org.uk/news- opinion/sight-sound-magazine/interviews/koreeda-hirokazu-shoplifters- families-crime-politics-japan-palme-d-or. ———. “The Interview: Koreeda Hirokazu.” Sight and Sound 29, no. 5 (May 2019): 46–49. Jenkins, David. Nobody Knows. In Of Flesh and Blood: The Cinema of Hirokazu Koreeda, 45–49. British Film Institute, 2019. Jenkins, Mark. “Air Doll: A Wistful Pinocchio with an Unlikely Past.” NPR, June 3, 2010. https://www.npr.org/templates/story/story.php?storyId=127350715. Johnston, Trevor. “Ripples on the Surface.” Sight and Sound XX, no. 2 (February 2010): 51. ———. “Shoplifters Reveals Kore-eda’s Masterfully Light Touch.” Sight and Sound, December 28, 2018. https://www.bfi.org.uk/news-opinion/sightsound- magazine/reviews-recommendations/shoplifters-hirokazu-koreedamakeshift- family-group-light-touch-palme-d-or. ———. Still Walking: A Contemporary Review. Of Flesh and Blood: The Cinema of Hirokazu Koreeda, 62–64. British Film Institute, 2019 (Originally published in Sight and Sound, February 2010). Johnson, William. “Hirokazu Kore-eda: Memory Man.” Film Comment 35, no. 4 (July–August 1999): 64–67. https://www.jstor.org/stable/43455422?seq= 1-page_scan_tab_contents. Kauffman, Stanley. “Quest and Questioning.” The New Republic, October 7, 1996. Kawauchi Rinko. Ano koro no koto/Every Day as a Child. Sony Magazines. Photos and writings about Nobody Knows, 2004. Kehr, David. “Record of a Tenement Gentleman.”InWhen Movies Mattered: Reviews from a Transformative Decade, 210–213. Chicago: University of Chicago Press, 2011. Kennedy, Rick, and Yaginuma Mikie. “Up and Down Etiquette.” In Transcending Stereotypes: Discovering Japanese Culture and Education, edited by Barbara Finkelstein, Anne Imamura, and Joseph Tobin, 26–32. Yarmouth, ME: Intercultural Press, 1991. BIBLIOGRAPHY 277

Kenny, Glenn. “Intimate Struggles Come to Life: After the Storm.” The New York Times, March 15, 2017. https://www.nytimes.com/2017/03/15/movies/ after-the-storm-review.html?login=email&auth=login-email. Kermode, Mark. “Like Father Like Son review.” The Guardian, October 19, 2013. https://www.theguardian.com/film/2013/oct/20/like-father-like- son-review. Kiang, Jessica. “A Wonky Family Lament That Weaponises Kore-eda’s Compas- sion.” Sight and Sound, December 4, 2018. ———. “Maboroshi.”InOf Flesh and Blood: The Cinema of Hirokazu Koreeda, 15–19. British Film Institute, 2019. Klawans, Stewart. “Review of Maborosi.” Nation, September 23, 1996. Kobayashi Yoshiaki. “Kore-eda to Direct Japan-French Film from October.” Mainichi Shimbun, July 16, 2018. https://mainichi.jp/english/articles/ 20180716/p2a/00m/0na/013000c. Kogonada. “The World According to Kore-eda: A Video Essay.” Sight and Sound (on Youtube). https://www.youtube.com/watch?v=Hu5YAuZ0Nyc. Kore-eda Hirokazu. http://www.kore-eda.com/index.html (in Japanese and English). ———. “Things I Learned from Hou.” In Hou Hsiao-hsien, translated by Ryan Cook and edited by Richard I. Suchenski, 185. Vienna: Osterreichisches Filmmuseum, 2014. ———. Kore-eda Hirokazu: Mata Koko kara Hajimaru (special issue). Kawade Yume Mukku (A Collection of Essays), 2017. ———. Manbiki kazoku (Novelization). Tokyo: Takarajimasha, 2018. ———. “‘Invisible’ to iu kotoba o megutte.” June 5, 2018. http://www.kore-eda. com/message/20180605.html. ———. “Shukuinikanshite.” June 7, 2018. http://www.kore-eda.com/message/ 20180607.html. Koresky, Michael. “Kore-eda Hirokazu.” Cinema Scope special issue (The Best Fifty Filmmakers Under Fifty) 50 (Spring 2012): 42. Kubo Yutaka. “Still Grieving: Mobility and Absence in Post-3/11 Mourning Films.” Journal of Japanese and Korean Cinema 11, no. 1 (2019): 55–67. LaFleur, William. “Suicide off the Edge.” Film History 14, no. 2 (2002): 158–165. https://www.jstor.org/stable/3815618?seq=1-page_scan_tab_contents. Lane, Anthony. “Households” (review of Shoplifters). The New Yorker, November 28, 2018, 95. Leader, Michael. “The Third Murder (review): Kore-eda’s Morally Complex Noir.” Sight and Sound, April 14, 2018. https://www.bfi.org.uk/news-opinion/ sight-sound-magazine/reviews-recommendations/third-murder-koreeda- morally-complex-noir. 278 BIBLIOGRAPHY

———. “Colliding Truth and Fiction: Hirokazu Koreeda’s AfterLife.”InOf Flesh and Blood: The Cinema of Koreeda Hirokazu, 27–31. British Film Institute, 2019. ———. “Still Walking Q&A. BFI Southbank.” In Of Flesh and Blood: The Cinema of Hirokazu Koreeda (disc four), April 16, 2019. Lewis, Diane Wei. “From Manga to Film: Gender, Precarity and the Textual Transformation of Air Doll.” Screen 60, no. 1 (Spring 2019): 99–121. Lopate, Phillip. “Found Families.” New York Review of Books, January 17, 2019, 36–37. Lluis Fecé, Josep. “Paisajes del vacío.HirokazuKore-eda.”InEl principio del fin: Tendencias y efectivos del novisimo cine japonés [Sitges-Festival Internacional de Cinema de Catalunya], 175–194. Spain: Paidós, 2003. Ma, Aliza. “Love and Theft.” Film Comment 54, no. 6 (November/December 2018): 38–43. Macdonald, Moira. “Shoplifters Is a Family Tale That Will Steal—And Break—Your Heart.” Seattle Times, December 10, 2018. https://www.seattletimes.com/ entertainment/movies/shoplifters-a-family-tale-that-will-steal-and-break- your-heart/. Marran, Christine L. “Tracking the Transcendental: Kore-eda Hirokazu’s Maboroshi.” Film History 14, no. 2 (2002): 166–168. https://www.jstor.org/ stable/3815619?seq=1-page_scan_tab_contents. Marsolais, Gilles. “Distance (Cannes film festival review).” 24 Images 107–108 (Automne 2001): 75. Masson, Alain. “Distance.” Positif 495 (May 2002): 76. McDonald, Keiko I. “The Danger and Allure of Phantom Light.” Reading a Japanese Film: Cinema in Context, 198–218. Honolulu: University of Hawaii Press, 2006. McGavin, Patrick Z. “Cannes 2001 Review: After-Death, Kore-eda Can’t Go the ‘Distance.’” Indie Wire, May 14, 2001. https://www.indiewire.com/2001/ 05/cannes-2001-review-after-death-kore-eda-cant-go-the-distance-80972/. McKim, Kristi. “Learning to Love What Passes: Sensual Perception, Temporal Transformation and Epistemic Production in Hirokazu Kore-eda’s After Life.” Camera Obscura 23, no. 2 (2008): 69–101. https://www.academia.edu/ 25199962/Learning_to_Love_What_Passes_Sensual_Perception_Temporal_ Transformation_and_Epistemic_Production_in_Hirokazu_Kore-edas_After_ Life_Camera_Obscura_. ———. “How Film Remembers: After Life.” Senses of Cinema, June 2017, 83. http://sensesofcinema.com/2017/cteq/after-life/. Méranger, Thierry. “Une affaire de famille (Shoplifters).” Cahiers du cinéma, April 2018, 743. Mes, Tom. “Distance.” Midnight Eye online, May 10, 2001. http://old. midnighteye.com/reviews/distance.shtml. BIBLIOGRAPHY 279

Mes, Tom, and Jasper Sharp. The Midnight Eye Guide to New Japanese Film, 206–213. Berkeley: Stone Bridge Press, 2005. ———. “Air Doll.” Midnight Eye, 2009. http://www.midnighteye.com/reviews/ air-doll/. Milestone Film and Video. Maborosi press kit. https://cdn.shopify.com/s/files/ 1/0150/7896/files/Maborosi_-_2018_Press_Kit_b82bfb21-7e8e-4cb3- adf7-9e01bf8026a3.pdf?2338381224602644113. Miranda, Luis. Viennale Retrospective, 122–123. Vienna, Austria, 2004. Moreno, Nieves. “Elogio de la memoria: Kore-eda Hirokazu/In Praise of Memory.” Secuencias: Revista de Historia del Cine 30. UAM, Ocho y Medio, 80–93, 2009. Morgenstern, Joe. “Mystery and a Master’s Vision: An Accused Killer Insists on His Guilt in Hirokazu Kore-eda’s Hauntingly Beautiful Drama.” Wall Street Journal, August 2, 2018. https://www.wsj.com/articles/the-third-murder- review-mystery-and-a-masters-vision-1533237178. ———. “Shoplifters Review: What Makes a Family?” Wall Street Journal, Novem- ber 22, 2018. https://www.wsj.com/articles/shoplifters-review-what-makes- a-family-1542888060. Morris, Wesley. “Air Doll: A Sweetly Sexual Fairy Tale.” Boston Globe, June 14, 2010. Morrison, Susan. “Distance: Hirokazu Kore-eda.” Cineaction, March 2002, 57. https://www.questia.com/library/journal/1G1-84184439/distance- hirokazu-kore-eda-toronto-international. Nayman, Adam. “TIFF 2015 Our Little Sister.” Cinema Scope. http://cinema- scope.com/cinema-scope-online/tiff-2015-our-little-sister-kore-eda-hirokazu- masters/. Neary, David. “Shoplifters (review).” Cineaste XLIV, no. 2 (Spring 2019): 51–53. NHK documentary. “Kore-eda Hirokazu x Ken Loach: eiga to shakai o kataru” (October 26, 2019 television special). Nolletti Jr. Arthur. “Kore-eda’s Children: An Analysis of Lessons from a Calf, Nobody Knows,andStill Walking.” Film Criticism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu) (Winter/Spring 2011), edited by Arthur Nolletti, Jr., 147–165. (Also, Introduction: 2–10.) Nordstrom, Johan. “Laughter and Tears: The Social Critique of Kore-eda’s Hana and Yamanaka Sadao’s Humanity and Paper Balloons.” Film Criticism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu), edited by Arthur Nolletti, Jr., 84–109. Osenlund, R. Kurt. “Still Walking.” Cineaste, Summer 2011, 54–55. O’Sullivan, Michael. “Like Father Like Son (review).” The Washington Post,Febru- ary 13, 2014. https://www.washingtonpost.com/goingoutguide/movies/ like-father-like-son-movie-review/2014/02/12/6d3d8fa0-904b-11e3-84e1- 27626c5ef5fb_story.html?utm_term=.0c052aee215a. 280 BIBLIOGRAPHY

Paletz, Gabriel, and Sait¯o Ayako. “The Halfway House of Memory: An Interview with Hirokazu Kore-eda.” Cineaction, Winter 2003. https://www.questia. com/library/journal/1G1-99288843/the-halfway-house-of-memory-an- interview-with-hirokazu. Park Je Cheol. “Envisioning a Community of Survivors in Distance and Air Doll.” Film Criticism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu), edited by Arthur Nolletti, Jr., 166–186. Paxton, Stephen. “Stealing and Healing in Downtown Tokyo (review of Manbiki kazoku).” EJCJS, September 10, 2019. Pickerton, Nick. “After the Storm (review).” Sight and Sound, June 2017, 52–53. https://www.bfi.org.uk/news-opinion/sight-sound-magazine/july-2017- issue. Rayns, Tony. “This Is Your Life.” Sight and Sound IX, no. 3 (March 1999): 24–26. http://old.bfi.org.uk/sightandsound/feature/147. ———. “Still Walking.” Film Comment, July/August 2009. https://www. filmcomment.com/article/still-walking-review/. ———. “After Life: A Contemporary Review.” In Of Flesh and Blood: The Cinema of Hirokazu Koreeda, 42–43. British Film Institute, 2019. Reichert, Jeff. “An Interview with Hirokazu Kore-eda.” Reverse Shot, August 22, 2009, 26. http://www.reverseshot.org/interviews/entry/364/hirokazu- kore-eda. Rich, F. Ruby. “Choose One Memory to Take with You, He Asks.” New York Times, Arts, May 16, 1999, 19. Rich, Motoko. “Shoplifters Director Pierces Japan’s Darker Side.” New York Times, February 8, 2019. https://www.nytimes.com/2019/02/08/world/asia/ shoplifters-movie-hirokazu-koreeda.html. Richie, Donald. “Kore-eda’s Maborosi: Showing Only What Is Necessary.” Film Criticism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu), edited by Arthur Nolletti, Jr., 37–45. Risker, Paul. “Questioning the Nature of Family Bonds.” Cineaste XLIV, no. 2 (Spring 2019): 42–43. Rojas, Alexander. “Distance”inViennale. Vienna International Film Festival catalogue, 2004, 219. Romney, Jonathan. “The Memory Game.” The Guardian, September 28, 1999. https://www.theguardian.com/film/1999/sep/28/2. ———. “Film of the Week: Our Little Sister.” Film Comment, July 8, 2016. https://www.filmcomment.com/blog/film-week-little-sister/. ———. “Film of the Week: The Third Murder.” Film Comment, July 19, 2018. https://www.filmcomment.com/blog/film-week-third-murder/. Saito, Stephen. “Hirokazu Koreeda Talks About Life After Death in His Directorial Debut Maborosi.” Moveable Fest, July 10, 2018. http://moveablefest.com/ hirokazu-kore-eda-maborosi/. BIBLIOGRAPHY 281

Sat¯o Kuriko. “Hirokazu Koreeda.” Midnight Eye online, June 28, 2004. http:// www.midnighteye.com/interviews/hirokazu-kore-eda/. Schilling, Mark. Contemporary Japanese Film, 116–118. New York: Weatherhill, 1999 (Maborosi no hikari, 249), Wonderful Life/After Life, 375–376. ———. “Memories as Microcosms” (review of Distance). The Japan Times, May 30, 2001. https://www.japantimes.co.jp/culture/2001/05/30/films/film- reviews/memories-as-microcosms/#.XLCFNC2ZNyk. ———. “No Easy Answers for Kore-eda” (About Nobody Knows). The Japan Times, August 25, 2004. https://www.japantimes.co.jp/culture/2004/08/ 25/films/film-reviews/no-easy-answers-from-kore-eda/-.XMZFsS2ZNyk. ———. “Aruite mo aruite mo: A Subtle Take on Family Life.” Japan Times, April 5, 2010. https://www.japantimes.co.jp/culture/2008/06/27/films/film- reviews/aruitemo-aruitemo/#.XLEfLy2ZPSU. ———. “Kore-eda Interview.” Film Criticism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu) (Winter/Spring 2011), edited by Arthur Nolletti, Jr., 11–20. ———. “Kiseki (I Wish)—Engineering a Miracle Is Child’s Play—And Anything but a Cynical Tearjerker.” The Japan Times, June 10, 2011. ———. “Filmmaker Hirokazu Koreeda: I Wanted to Do Something Different.” The Japan Times, September 7, 2017. Culture (About The Third Mur- der). https://www.japantimes.co.jp/culture/2017/09/07/films/filmmaker- hirokazu-koreeda-wanted-something-different/-.XMZFhC2ZNyk. ———. “Shoplifters: Kore-eda’s Palme d’Or Winner Is an Eloquent Look at the Human Condition.” The Japan Times, June 13, 2018. https://www. japantimes.co.jp/culture/2018/06/13/films/film-reviews/shoplifters-kore- edas-palme-dor-winner-eloquent-look-human-condition/-.XMZFVy2ZNyk. Schobert, Christopher. “Hirokazu Koreeda on Fatherhood, Typhoons, and After the Storm.” Thefilmstage.com., March 16, 2017. https://thefilmstage.com/ features/hirokazu-kore-eda-on-fatherhood-typhoons-and-after-the-storm/. Scott, A. O. “Cannes the Festival, Cannes the Fantasy.” New York Times, May 14, 2004, E1. ———. “Abandoned Children Stow Away at Home.” The New York Times,Febru- ary 4, 2005. https://www.nytimes.com/2005/02/04/movies/abandoned- children-stow-away-at-home.html. ———. “Our Little Sister, or What We Found at Dad’s Funeral.” New York Times, July 7, 2016. https://www.nytimes.com/2016/07/08/movies/our-little- sister-review.html. Senn, Nathan. “Cultivating Self in the Other in Hirokazu Kore-eda’s Without Memory.” Senses of Cinema, June 2019. http://sensesofcinema.com/2017/ cteq/without-memory/. Shaffer, Marshall. “Interview: Hirokazu Kore-eda on the Invisible People of Shoplifters.” Slant Magazine, November 20, 2018. https://www. 282 BIBLIOGRAPHY

slantmagazine.com/film/interview-hirokazu-kore-eda-on-the-invisible- people-of-shoplifters/. Sharp, Jasper. “The Hidden Heart in the Home Dramas of Hirokazu Korereda.” In Of Flesh and Blood: The Cinema of Hirokazu Koreeda, 53–59. British Film Institute, 2019. ———. “Hirokazu Koreeda Screentalk.” In Of Flesh and Blood: The Cinema of Hirokazu Koreeda (disc two). Institute (2019), from 2013 BFI London Film Festival. Sh¯oji, Kaori. “The Truth about Kore-eda.” Japan Subculture Research Center 14 October 2019 (about Shinjitsu/The Truth). Sinker, Mark. “Maborosi: A Contemporary Review.” In Of Flesh and Blood: The Cinema of Hirokazu Koreeda (2019): 22–24. British Film Institute. (First published in Sight and Sound, July 1996). Smith, Imogen Sara. “Loving Memory: After Life and Shoplifters.” Film Comment, November 26, 2018. https://www.filmcomment.com/blog/loving-memory- life-shoplifters/. Sorensen, Lars-Martin. “Reality’s Poetry: Kore-eda Hirokazu Between Fact and Fiction.” Film Criticism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu), edited by Arthur Nolletti, Jr., 21–36. Stephens, Chuck. “Hirokazu Kore-eda.” Film Comment 41, no. 2 (March–April 2005): 34–36. Thain, Alanna. “Death Every Sunday Afternoon: The Virtual Realities of Hirokazu Koreeda’s After Life.”InMillennial Cinema: Memory in Global Film,edited by Amresh Sinha and Terence McSweeney, 55–70. London: Wallflower Press, 2011. Thomas, Kevin. “Maborosi Takes Powerful Journey of Spirit.” Los Angeles Times, September 19, 1996. Thomson, Desson. “Nobody Knows: Unforgettable.” The Washington Post, February 25, 2005. Tomasi, Dario. Dalla memoria all’assenza: il cinema di Koreeda. Sonatine 2010.blogspot.it. Tranchant, Marie-Noelle. “Des enfants oubliés: En competition, Nobody Knows,de Kore-eda Hirokazu.” Le Figaro, May 14, 2004. Tsukahara, Mami. “Kore-eda: A Man of Humanity and Imagination.” Daily Yomiuri online, August 8, 2004, Arts section. Turan, Kenneth. “Cannes: Hirokazu Kore-eda Deftly Explores Family in Our Little Sister.” Los Angeles Times, May 14, 2015. https://www.latimes.com/ entertainment/movies/la-et-mn-cannes-kore-eda-20150515-column.html. ———. “A Muddled Verdict in The Third Murder; Japan’s Revered Auteur Hirokazu Kore-eda Turns a Legal Thriller into a Search for Truth.” Los Angeles Times, August 3, 2018, E7. BIBLIOGRAPHY 283

———. “Shoplifters Is a Magical Film About Ordinary People Forming a Makeshift Family.” Los Angeles Times, November 21, 2018. https://www.latimes.com/ entertainment/movies/la-et-mn-shoplifters-review-20181121-story.html. Van Ommen, Merel. “The Visual Representation of Time in the Oeuvre of Kore-eda Hirokazu.” Image and Narrative 15, no. 1 (2014): 17–29. Wada-Marciano, Mitsuyo. “A Dialogue Through Memories: Still Walking.” Film Criticism XXXV, nos. 2–3 (Special double issue: Kore-eda Hirokazu), edited by Arthur Nolletti Jr., 110–126. Wee, Brandon. “Still Walking: Kore-eda Hirokazu.” Cinema Scope 37 (Winter 2009): 54–55. Yamada, Marc. “Between Documentary and Fiction: The Films of Koreeda Hirokazu.” Journal of Religion and Film 20, no. 3 (October 2016). Article 13. https://digitalcommons.unomaha.edu/jrf/vol20/iss3/13/. Yamazaki Nobuko. “Manbiki Kazoku saisho no taitoru wa Koe o Dashite Yonde data! Lily Franky ga kataru.” Movie Walker, June 7, 2018. Yu, Ryan. “Home Free.” Indy Week, January 16, 2019, 19. ———. “Life Is Good Outside of the Law in Shoplifters.” Indy Week, January 11, 2019. https://indyweek.com/culture/screen/shoplifters-review/. Zhang Songtao. “Shoplifters: The Tale of an Anarchic Family.” Film Criticism 42 (Summer 2018). http://dx.doi.org/10.3998/fc.13761232.0042.316. (no author listed). “Director Hirokazu Kore-eda: A Master of Humanism.” The Japan Times, Culture section (digital) AFP-JUJI (report from the Cannes Film Festival, 2018). (no author listed). “‘Anti-Japan’ Criticism Hits Film Director, Researchers Who Keep Gov’t at Arm’s Length.” The Mainichi, July 30, 2018. https://mainichi. jp/english/articles/20180730/p2a/00m/0na/008000c. (no author listed). “Kore-eda Hirokazu kantoku:‘Manbiki kazoku wa dare ka hito ni mukete tsukute iru.’” Eiga.com news, June 6, 2018. (no author listed). “Film Review: An Unlikely Meditation on Family in Shoplifters.” The Mainichi, November 22, 2018. https://mainichi.jp/english/articles/ 20181122/p2g/00m/0et/043000c. (no author listed). “Hirokazu Kore-eda’s Fragile Families.” Mint. New Delhi, July 6, 2019.

Other Sources Cited

Addiss, Stephen, Gerald Groemer, and J. Thomas Rimer, ed. Traditional Japanese Arts and Culture: An Illustrated Sourcebook. Honolulu: University of Hawaii Press, 2006. Anderson, Joseph, and Donald Richie. The Japanese Film: Art and Industry.New York: Tuttle (Originally published 1959). 284 BIBLIOGRAPHY

Aoyama Tomoko, Laura Dale, and Romit Dasgupta, ed. Configurations of Family in Contemporary Japan. Nissan Institute/Routledge Japanese Studies, 2014. Astruc, Alexandre. “Du Stylo, à la caméra et de la caméra au stylo.” L’Écran française (March 30, 1948). Augé, Marc. Casablanca: Movies and Memory. Translated by Tom Conley. Min- neapolis: University of Minnesota Press, 2009. Bachelard, Gaston. The Psychoanalysis of Fire. Translated by Alan C. M. Ross. Boston: Beacon, 1964. Barker, Jennifer M. The Tactile Eye: Touch and the Cinematic Experience. Berkeley: University of California Press, 2009. Barrett, Gregory. Archetypes in Japanese Film: The Sociopolitical and Religious Sig- nificance of the Principal Heroes and Heroines. Selinsgrove, PA: Susquehanna University Press, 1989. Bazin, André. “Adaptation, or the Cinema as Digest.” In Film Adaptation,edited by James Naremore. New Brunswick, NJ: Rutgers University Press, 2000. ———. Qu’est-ce que le cinema? (Paris: Editions du Cerf, 1958–1962). Translated in Literature/Film Quarterly XXX, no. 1 (2002): 15–21. Bettinson, Gary, and James Udden, ed. The Poetics of Chinese Cinema. New York: Palgrave, 2016. Bowers, Faubion, ed. The Classic Tradition of Haiku: An Anthology. New York: Dover, 1996. Bordwell, David. Poetics of Cinema. New York: Routledge, 2008. ———. “Five Lessons from Stealth Poetics.” In The Poetics of Chinese Cinema, edited by Gary Bettinson and James Udden, 15–29. New York: Palgrave, 2016. Brandon, James, ed. N¯oandKy¯ogen in the Contemporary World. Honolulu: Uni- versity of Hawaii Press, 1997. Caruth, Cathy. Trauma Explorations in Memory. Baltimore, MD: John Hopkins University Press, 1995. Cho, Francisca. “The Play of Shadows in Japanese Cinema.” Material Religion: The Journal of Objects, Art, and Belief 11, no. 4 (2015): 507–525. ———. Chapter 5: “The Depth of Shadows in Maborosi.” In Seeing Like the Buddha: Enlightenment Through Film, 87–106. New York: SUNY Press, 2017. Chow, Rey. “Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong kar-wai.” New Literary History 33, no. 4 (Autumn 2002): 630–654. http://muse.jhu.edu/issue/2333. Coles, Robert. The Moral Life of Children. Boston: The Atlantic Monthly Press, 1986. Csikszentmihalyi, Mihaly. “Why We Need Things.” In History from Things: Essays on Material Culture, edited by Stephen Lubar and W. David Kingery, 20–29. Washington, DC: Smithsonian Press, 1993. Daly, Fergus. “Immanence and Transcendence in the Cinema of Nature.” Philoso- phy, Criticism and Film 11 (December 2000). BIBLIOGRAPHY 285

De Bary, Theodore. “The Vocabulary of Japanese Aesthetics I, II, and III.” In Japanese Aesthetics and Culture, edited by Nancy G. Hume, 43–76. New York: SUNY Press, 1995. Ehrlich, Linda C. “The Extremes of Innocence: Kurosawa’s Dreams and Rhap- sodies.” In Hibakusha Cinema, edited by Mick Broderick. Australian Film Com- mission. Kegan-Paul International Japanese Studies Series (1996), 160–177 (Japanese translation of book by Gendai Shokan Publishers, 1999: 145–158). ———. “The American Occupation Remembered: Cinematic Versions.” In The Confusion Era: Art and Culture of Japan During the Allied Occupation.In Asian Art and Culture. Smithsonian University Press, 1997: 39–52. ———. Cinematic Reveries: Gestures, Stillness, Water. Bern, Switzerland: Peter Lang, 2013. Eisenberg, Nancy. The Caring Child. Cambridge: Harvard University Press, 1992. Elsaesser, Thomas. “Touch and Gesture: On the Borders of Intimacy.” Framework: The Journal of Cinema and Media 60, no. 1 (Spring 2019): 9–25. Finkelstein, Barbara, Anne Imamura, and Joseph Tobin, ed. Transcending Stereo- types: Discovering Japanese Culture and Education. Yarmouth, ME: Intercultural Press, 1991. Fuller, Graham, ed. Loach on Loach. London: Faber and Faber, 1998. Goldin-Meadow, Susan. Hearing Gesture: How Our Hands Help Us Think. Cam- bridge: Harvard University Press, 2003. Gordon, Andrew. A Modern History of Japan: From Tokugawa Times to the Present. New York: Oxford University Press, 2014. Guth, Christine, ed. Asobi: Play in the Arts of Japan (Katanoh Art Museum), 1992. Haga K¯oshir¯o. “The Wabi Aesthetic Through the Ages.” In Japanese Aesthetics and Culture: A Reader, edited by Nancy Hume, 245–278. Albany: State University of New York Press, 1995. Hasumi Shigehiko, and Yamane Sadao. Mikio Naruse. San Sebastián and Madrid: Festival Internacional de Cine de San Sebastián and Filmoteca Española, 1998. Hennessey, Sumiko. “Child Abuse and Neglect in Japan: A Foster Parents’ Grass- roots Movement to Improve Japan’s Child Welfare System”. Hines, Barry. A Kestrel for a Knave. New York: Penguin, 1968. Hume, Nancy, ed. Japanese Aesthetics and Culture: A Reader. Albany: State Uni- versity of New York Press, 1995. Inouye, Charles Shiro. Evanescence and Form: An Introduction to Japanese Culture. New York: Palgrave, 2008. Kamo no Ch¯omei, H¯oj¯oki (The 10-Foot Square Hut). Translated A. L. Sadler. Rut- land, VT: Tuttle, 1972. Note also the translation by Donald Keene (1955), and another by Moriguchi Yasuhiko and David Jenkins. Berkeley: Stone Bridge Press, 1996. 286 BIBLIOGRAPHY

Kawamoto Kihachir¯o. Ningy¯o no inochi. Translated by Linda Ehrlich and Hiroko Takada-Amick. International Journal of Comic Art 14, no. 1 (Spring 2012): 525–529. Keene, Donald. Anthology of Japanese Literature. New York: Grove Press, 1955. ———. “Japanese Aesthetics.” In Japanese Aesthetics and Culture: A Reader,edited by Nancy Hume, 27–41. Albany: State University of New York Press, 1995. Kenny, Don. The Ky¯ogen Book: An Anthology of Japanese Classical Comedies. Tokyo: The Japan Times, 1989. Kozol, Jonathan. Ordinary Resurrections: Children in the Years of Hope.NewYork: Harper Perennial, 2012. Krell, Alan. Burning Issues: Fire in Art and the Social Imagination. London: Reak- tion Books, 2011. Law, Jane Marie, ed. Religious Reflections on the Human Body. Bloomington: Indi- ana University Press, 1995. Lebeau, Vicky. Childhood and Cinema. London: Reaktion Press, 2008. Leigh, Jacob. The Cinema of Ken Loach: Art in the Service of the People. London: Wallflower Press, 2002. Lifton, Robert Jay. The Life of the Self: Toward a New Psychology.NewYork:Simon & Schuster, 1976. Lippit, Akira Mizuta. Atomic Light (Shadow Optics). Minneapolis: University of Minnesota Press, 2005. Lopate, Philip. The Art of the Personal Essay: An Anthology from the Classical Era to the Present. New York: Anchor Books, 1995. Lury, Karen. The Child in Film: Tears, Fears, and Fairytales. New Brunswick: Rut- gers University Press, 2010. McCarthy, Helen. Hayao Miyazaki: Master of Japanese Animation: Films, Themes, Artistry. Berkeley: Stone Bridge Press, 1999. Miyamoto Teru. Phantom Lights and Other Stories [Maborosi no hikari]. Translated by Roger K. Thomas. Fukuoka: Kurodahan Press, 2011. Montero Plata, Laura. El mundo invisible de Hayao Miyazaki. Palma de Mallorca: T. Dolmen Editorial, 2012. ———. “The Humanization of the Goddess: Takahata Isao’s Princess Kaguya.” In Dialectics of the Goddess in Japanese Audiovisual Culture, edited by Lorenzo Torres Hortelano, 91–110. Lexington: Lexington Books, 2018. Morris, Ivan. The Nobility of Failure: Tragic Heroes in the History of Japan. Farrar, Straus and Giroux, 1988 (first published in 1975). Neupert, Richard. The End: Narration and Closure in the Cinema. Detroit: Wayne State University Press, 1995. Nolletti, Arthur Jr., and David Desser, ed. Reframing Japanese Cinema: Authorship, Genre, History. Bloomington: Indiana University Press, 1992. Okakura Kakuz¯o. The Book of Tea. Boston: Dover, 1967. BIBLIOGRAPHY 287

Onishi Norimitsu. “A Lonely Death: In Japan, the Elderly Often Live, and Die, Alone.” The New York Times, special report, November 30, 2017, F2. Orr, John. “A Cinema of Poetry.” In Post-war Cinema and Modernity: A Film Reader, edited by John Orr and Olga Taxidou, 133–141. New York: New York University Press, 2001. Rexroth, Kenneth. One Hundred More Poems from the Japanese. New York: New Directions, 1976. Richie, Donald, ed. Rash¯omon: Akira Kurosawa, director. New Brunswick: Rutgers University Press, 1990. ———. A Hundred Years of Japanese Film. Tokyo and New York: Kodansha, 2001. Rimer, J. Thomas, and Yamazaki Masakazu, trans. On the Art of the N¯oDrama: The Major Treatises of Zeami. Princeton: Princeton University Press, 1984. Ronald, Richard, and Allison Alexy, ed. Home and Family in Japan: Continuity and Transformation. London: Routledge, 2011. Ruiz, Raúl. Poetics of Cinema 2. Translated by Carlos Morreo. Paris: Dis Voir, 2007. Russell, Catherine. The Cinema of Naruse Mikio: Women and Japanese Modernity. Durham, NC: Duke University Press, 2008. Sat¯o Hiroaki, and Burton Watson, ed. From the Country of Eight Islands: An Anthol- ogy of Japanese Poetry. New York: Anchor Books, 1981. Sat¯o Tadao. “Shisha no sho.” In Iwanami Hall publication on The Book of the Dead, 10–11. Tokyo: Equipe de Cinema, 2005. Sharp, Jasper. Historical Dictionary of Japanese Cinema, 141–142. Lanham, MD: Scarecrow Press, 2011. Shimao Toshio. The Sting of Death and Other Stories. Translated by Kathryn Spar- ling. Michigan Papers in Japanese Studies. University of Michigan Press, 1985. Shirane Haruo. Japan and the Culture of the Four Seasons: Nature, Literature, and the Arts. New York: Columbia University Press, 2012. Sitney, P. Adams. The Cinema of Poetry. New York: Oxford University Press, 2015. Smith, Henry. “The Capacity of Ch¯ushingura: 300 Years of Ch¯ushingura.” Monu- menta Nipponica 53, no. 1 (Spring 2003): 1–42. http://www.columbia.edu/ ~hds2/hds2_chushingura.html. ———. “Ch¯ushingura in the 1980s: Rethinking the Story of the 47 R¯onin.” In Revenge Drama in European Renaissance and Japanese Theatre: From Hamlet to Madame Butterfly, edited by Kevin J. Wetmore, Jr., 187–211. New York: Palgrave, 2008. http://www.columbia.edu/~hds2/hds2_chushingura.html. Spirn, Anne Winston. The Language of Landscape. New Haven: Yale University Press, 1998. Strand, Mark. “Landscape and the Poetry of the Self.” In The Weather of Words: Poetic Invention, 105–121. New York: Knopf, 2000. Tarkovsky, Andrey. Sculpting in Time: The Great Russian Filmmaker Discusses His Art. Translated by Kitty Hunter-Blair. Austin: University of Texas Press, 1996. 288 BIBLIOGRAPHY

Tellenbach, Hubertus, and Bin Kimura. “The Japanese Concept of ‘Nature’.” In Nature in Asian Traditions of Thought, edited by J. Baird Callicott and Roger T. Ames, 153–162. New York: SUNY Press, 1989. Thornhill III, Arthur H. “Y¯ugen After Zeami.” In N¯oandKy¯ogen in the Contem- porary World, edited by James Brandon. Honolulu: University of Hawaii Press, 1997. Torres Hortelano, Lorenzo, ed. Goddesses: Dialectics of the Feminine in Japanese Audiovisual Culture. Lexington, KY: Lexington Press, 2018. Tsuji Nobuo. Playfulness in Japanese Art (Franklin D. Murphy Lectures VII). Spencer Museum of Art, University of Kansas, 1986. Ueda Makoto. Literary and Art Theories in Japan. Ann Arbor, MI: Center for Japanese Studies/University of Michigan (Michigan Classics in Japanese Studies 6), 1991. Vives Riego, Javier. “Paisajes reales y paisajes imaginarios: El espacio en el arte japonés.” In Itinerarios, viajes, y contactos Japón-Europa, edited by Pilar Gar- cés García and Lourdes Terrón Barbosa. Bern, Switzerland: Peter Lang, 2013. Warner, Marina, ed. “Through a Child’s Eyes.” In Cinema and the Realm of Enchantment, edited by Duncan Petrie. London: British Film Institute, 1993. White, Merry. Perfectly Japanese: Making Families in an Era of Upheaval. Berkeley: University of California Press, 2002. Wilson, Emma. Cinema’s Missing Children. London: Wallflower Press, 2003. Wood, Robin. Personal Views: Explorations in Film. Detroit: Wayne State University Press, 2006. Note: “Images of Childhood” (189–212); “The Ghost Princess and the Seaweed Gatherer: Ugetsu Monogatari and Sansh¯o Day¯u” (273–302). Yoneyama Toshinao. Basic Notions of Japanese Social Relations (occasional paper). Richmond, Indiana: Earlham College, Institute for Education on Japan, vol. 1, no. 3 (1989). (no author listed). “U.N. Panel Slams Japan’s Response to Child Abuse, Exploita- tion.” Ky¯odo News, February 8, 2019. https://english.kyodonews.net/news/ 2019/02/fd78da26a9b5-un-panel-calls-on-japan-to-address-violence-against- children.html?phrase=Fukui&words=. (no author listed). “Old, Shrinking and Broke.” The Economist, June 29, 2019, 32. (no author listed). “Record 1,380 Child Abuse Cases Handled by Police in 2018.” Ky¯odo News, March 14, 2019. https://english.kyodonews.net/news/2019/ 03/9f2caa60b0c6-update1-record-1380-child-abuse-cases-handled-by-japan- police-in-2018.html. Index

A Air balloons, 167 Abandonment, 71, 97, 110, 112, 113, Air Doll, 5, 42, 55, 123, 130, 137, 135, 198, 204, 206, 208, 232 145–152, 154–156, 162, 172, Abe Hiroshi, 59, 62, 68, 71, 163, 259 196, 199, 200, 225, 226, 241, Absent father, 92, 119 243, 244, 246, 247, 250, 251, Absent parent, 241 253 Abundance/Abundant, 25, 176, 209, Airport, 107–109, 111, 250 226 Akogare/yearning, 42, 219 Abuse, 100, 111, 112, 130, 134, 135, Akutagawa, Ry¯unosuke, 129, 132, 151, 195, 200, 205, 209, 232, 140, 186 240 Alexy, Allison, 239, 258 After Life, 9, 10, 42, 67, 77–83, Arata, 64, 82, 117, 147, 151, 153, 85–87, 130, 177, 181, 184, 238, 169, 170, 172, 220, 259 241, 242, 245–247, 250, 252, Arawashiyo, 247 253 Aruite mo aruite mo. See Still Walking After the Storm, 9, 62, 67, 68, 70–73, Asano, Tadanobu, 31, 37, 52, 117, 112, 130, 152, 169, 175, 190, 120, 181, 187 195, 211, 212, 229, 240, 241, Asobi/play, 12, 20, 22, 32, 37, 47, 71, 243, 247, 252, 254, 260 86, 91, 92, 95, 97, 103, 104, 118, Aging society, 71 153, 166, 167, 228, 244, 245, Air, 5, 45, 64, 72, 73, 81, 92, 95, 121, 252, 254 146–148, 151, 166, 171, 176, Associative montage, 162 194, 199, 206, 218, 220, 222, Astruc, Alexandre, 34, 52 225–227, 229, 253, 257 Augé, Marc, vii, ix, 1, 13

© The Editor(s) (if applicable) and The Author(s), under 289 exclusive license to Springer Nature Switzerland AG 2019 L. C. Ehrlich, The Films of Kore-eda Hirokazu, East Asian Popular Culture, https://doi.org/10.1007/978-3-030-33051-4 290 INDEX

August without him, 19, 24, 247 Burial, 21, 80, 107, 109, 134, 139, Aum Shinriky¯o, 116, 118, 119, 124, 203, 204, 221, 250 125, 238 Bushid¯o, 223 Awards, 10, 51, 52, 65, 68, 89, 110, Butterfly(ies), 60, 61, 72, 169 111, 141, 164 C Calligraphy, 47, 71, 98, 188, 230 B Camera, 11, 22, 25, 39, 46, 49, 68, Bachelard, Gaston, 115, 124 82, 84, 87, 95, 101, 103, 104, Barker, Jennifer M., 147, 156, 204, 108, 120, 129, 171, 186, 218, 213 224, 228, 250 Barrett, Gregory, 186, 187, 191 Campfire, 118 Baseball, 92, 104, 105, 163, 248 Candlelight, 92 Bath, 63, 166, 170, 194 Cannon, Kristopher L., 150, 156, 157 Bazin, André, 33, 35, 52, 107, 113 Ceremonial/ceremony, 7, 8, 21, 107, Bertolé, Claudia, 7, 14, 26, 44, 54, 64, 115, 154, 204, 211, 253 145, 149, 156, 226, 235 Chang, Justin, 53, 157, 210, 237, 258 Bicycle, 31, 37, 38, 42, 47, 49, 161, Cheating, 183 176, 178, 218, 220 Chikamatsu Monzaemon, 45, 47, 77, Bicycle bell, 41 87 Biological father, 165, 166 Childlike, 246 Biological mothers, 209, 232, 241, Children, 3, 7, 12, 19–23, 25, 30, 242 36, 37, 44, 54, 60–62, 68, 71, Bird, 95, 120, 134, 138, 139, 163, 72, 84, 85, 91, 92, 94–103, 184, 243, 253 105–107, 109–113, 135, 137, Birth parents, 202, 213 153, 160–163, 165, 166, 175, 400 Blows, 95, 102 180, 188, 195–203, 206–208, Boat, 37, 60, 63, 200, 255 210, 218, 220, 222, 226–228, Bodhisattvas, 78, 148 230, 232, 235, 238, 240–242, Bonfires, 125 253, 258–260 Bordwell, David, vii, ix, 3, 39, 53, 139, Cho, Francisca, 15, 42, 47, 49, 54, 142, 193, 210 137, 142, 190 Bradshaw, Peter, 95, 111, 135, 141, Christianity, 125, 134, 138 194, 211, 231, 235, 239, 241, Ch¯ushingura, 138, 179, 182, 183, 243, 258, 259 185–187, 242 Breaths, 146, 151, 153–155, 162, 171, Cinematographer, 245, 247 225, 226, 250, 253 Clément, René, 107 Bresson, Robert, 130, 207 Community, 180, 182, 184, 226 Buddhism/Buddhist, 5, 6, 32, 36, 38, Connection, 12, 49, 82, 85, 95, 117, 42, 47, 54, 61, 122, 125, 134, 150, 209, 219, 225, 251. See also 137, 146, 190 tsunagari Bun-Buku, 9, 254 Corridors, 186 INDEX 291

Courtroom, 4, 102, 130, 133, 138, Dream, 70, 72, 73, 94, 106, 137, 138, 139, 169, 238 147, 148, 155, 163, 221, 230, Crape myrtle, 61, 137 251 Crime(s), 102, 119, 126, 134, 138, 139, 142, 146, 169, 201, 203, 208, 238 E Cross, 135, 139 Earth, 5, 13, 25, 43, 51, 80, 92, 118, Crossroad, 231 121, 194, 203, 218–220, 222, 249, 250, 257 Crosswalk, 222, 235, 250 Echart, Pablo, 241, 258 Csikszentmihalyi, Mihaly, 60, 61, 64 Education, 188 Einaudi, Ludovico, 131, 141 Eisenberg, Nancy, 196, 212 D Elderly, 35, 39, 72, 74, 161, 195, 196, Danchi, 10, 71, 72, 195, 258 208, 239, 250 Daremo shiranai. See Nobody Knows Elements, 5, 13, 43, 45, 46, 92, 194, Dargis, Manohla, 140, 142, 162, 164, 218, 220, 222, 252 208, 213, 248, 249, 260 Elley, Derek, 146, 156 Darkness, 39 Ellis, Jonathan, 12, 16, 81, 88, 246, Daughter, 32, 35, 53, 133, 134, 198, 260 224, 225, 239, 242, 254 Elsaesser, Thomas, 255, 261 Death(s), 7, 11, 21, 24, 32, 34, 36, Emakimono, 186 37, 40, 43, 47, 49, 50, 52, 61, 62, Emoto Akira, 39, 196, 212, 259 64, 67, 71, 72, 80, 107, 113, 116, Emptiness, 15, 54, 137, 151, 154, 125, 132, 134, 152–155, 175, 226, 243, 253 177, 179, 182, 184, 190, 195, Engawa, 80, 92, 205, 219, 253 218, 231, 232, 238, 240, 241, Enj¯o, 122 245, 250, 252, 259 Episodic narrative structure, 175, 178 Erice, Víctor, 4, 53, 104, 147 Deception, 149, 249 Esumi Makiko, 30, 37, 52 Desser, David, 38, 53, 83, 89 Exhalation, 146 Directing children, 102, 103 Distance, 7, 9, 64, 77, 80, 103, 116, 119–125, 175, 220, 221, 233, F 238, 240–242, 247, 249–252 Families, 12, 20, 31, 33, 35, 45, 51, Documentary(ies), 1, 4, 19, 20, 23–25, 59, 60, 63, 64, 67, 70, 84, 85, 36, 39, 64, 79, 84, 85, 87, 218, 93, 100, 102, 112, 116–120, 123, 244, 246, 247, 259 150, 152, 159, 161, 165, 167, Doll, 145, 147, 149–155, 225, 246 168, 173, 182, 188, 194, 195, Donostia Award, 10 197, 198, 200, 201, 204–208, Doona, Bae, 145, 148, 149, 156 210, 212, 213, 220, 222–224, Drawing, 30, 92, 94, 103, 106, 111, 226, 229, 232, 238–242, 248, 166, 183, 201 252, 259 292 INDEX

extended family, 119, 177, 194 G blended families, 49, 241 Gambling, 69, 71, 163, 240 miraculous family, 161, 162 Garbage, 99, 151, 152, 225 newly configured family, 238 García, Maria, 78, 85, 87 reconfigured families, 171, 194 Garden, 8, 21, 80, 92, 177, 200, 204, 226, 253 reconstructed family, 118, 229 Gautier, Eric, 254 separated families, 160 Gerow, Aaron, 15, 20, 25, 26, 52, 64, Father(s), 9, 34, 39, 53, 61, 64, 68, 83, 85, 88, 89, 101, 112, 260 70–72, 74, 80, 82, 84, 91, 93, 95, Gesture(s), 105, 140, 232, 253 99, 102, 110, 112, 119, 120, 130, Ghost(s), 47, 50, 55, 79, 86, 121, 150, 133, 134, 145, 159, 163, 166, 220, 234, 246 168–171, 173, 195, 197, 198, Glass, 38, 136, 137, 139, 197, 226 200, 203, 209, 221, 229, 230, Goldin-Meadow, Susan, 105, 113 233, 238, 240–244 Gordon, Andrew, 258 Fecé, Josep Lluis, 126 Goto Miyabi, 242, 259 Fire, 5, 13, 25, 45, 49, 51, 80, 92, 107, Grave(s), 63, 83, 109, 175, 184, 224, 115, 121–125, 129, 130, 137, 241 138, 141, 152, 162, 177, 194, Ground, 168, 201 204, 205, 218, 220, 222, 234, Guth, Christine, 244, 259 252, 256 Fire festivals, 116, 125 Fireplace, 132 H Fireworks, 177, 205, 252 Haga K¯oshir¯o, 7, 14, 234 Fish, 200, 201, 206, 212, 256 Haiku, vii, ix Fishing, 32, 39, 45, 167, 200, Hana, 9, 142, 176, 180–184, 187, 202–204, 256 189, 222, 223, 235, 240–243, Flame(s), 129, 205 246, 247, 250 Flashback, 117, 119, 120, 125, 160, Hanabi-senk¯o (sparklers), 45, 177 251 Hana yori mo nao. See Hana Hand(s), 30, 45, 60–62, 104–110, Flower(s), 61, 62, 117, 118, 138, 145, 121, 129, 134, 136–140, 147, 151, 161, 225, 233, 241 161, 233, 250, 252 Forest, 7, 80, 117, 118, 124, 169, 250, Hashizume Isao, 72, 74, 133, 161 251 Hasumi Shigehiko, 2, 13 Freeter(s), 117, 196, 239 Hiding, 37, 39, 94, 97, 99, 118, 183, Fubuki Jun, 168, 175 197, 240, 248, 249 Fukuyama Masaharu, 131, 134, 165, Hirata Yutaka, 24 169, 171 Hirose Suzu, 131, 135, 173 Fullness, 87 Hitchcock, Alfred, 40, 130, 132 Funeral, 45–47, 80, 177, 218, 223, Hokkaid¯o, 7, 9, 134, 135, 137, 175, 229, 251, 252 201 INDEX 293

Holden, Stephen, 49, 55, 77, 88 Kaguyahime, 147 Honda Shigeru, 84, 247 Kamakura, 10 Honne, 198, 212 KamonoCh¯omei, 25, 26, 29, 51, 55 Hou Hsiao-Hsien, 4, 40, 41, 43, 52, Kare no inai hachigatsu. See August 157, 265 Without Him However…in the time of Public Welfare Kauffmann, Stanley, 40, 53 Cuts, 36 Kawamoto Kihachir¯o, 154, 157 Humanism, 2, 4, 182, 208, 210 Kawase Naomi, 4, 247, 248 Keene, Donald, 7, 8, 14, 15, 50, 54, 87 I Kehr, David, 13 Ichikawa Kon, 122, 174, 187 Kes, 4, 95, 111 Iles, Timothy, 7, 14, 41, 49, 54, 82, Kiki Kirin, 14, 53, 59, 65, 67, 74, 161, 89, 250, 261 163, 168, 175, 194, 198, 199, Imagination, 11 211, 259 Imamura Sh¯ohei, 15, 88, 130, 141, Kinoshita Keisuke, 30 181, 182 Kioku ga ushinawareta toki. See Without Imamura, Anne E., 152, 157 Memory Inkstone, 71, 229, 230 Kites, 146, 170, 253 Inouye, Charles Shiro, 124, 126 Kiseki. See I Wish Invisible/Invisibility, 40, 80, 101, 207, Klawans, Stuart, 41, 54 213, 248 Kogonada, 82, 88, 102, 112, 255, 261 Iseya Y¯usuke, 77, 81, 117 Kondo Ry¯uto, 210, 247 IWantedtoBeaJapanese, 19, 23, 247 Kore-eda Hirokazu, 1, 4, 53, 211, 217, IWish, 9, 32, 68, 72, 74, 111, 159, 260 161, 163, 164, 196, 211, 226, Korea, 23, 24, 34, 145, 148, 156, 261 227, 230, 243, 245, 247 Kukan, 40 K¯uki ningy¯o. See Air Doll Kurosawa Akira, 83, 88, 118, 121, J 130–133, 139, 141, 157, 181, Jacoby, Alexander, 13, 103, 113, 126, 183, 190 200, 213, 214, 237, 257, 261 Kurosawa Kazuko, 190 Je Cheol Park, 118, 125, 241, 259 Ky¯ogen, 163, 184, 190 Jidaigeki, 142, 179, 180, 246 Ky¯oto, 174 Johnson, William, 246, 260 Ky¯ush¯u, 9, 159, 161 Justice, 12, 71, 135, 137–139, 231, 248 L LaFleur, William, 47, 55, 250 K Lake, 109, 117, 120, 251, 252 Kabuki/bunraku, 47, 87, 139, 182, Land, 44, 46, 47, 49, 218, 250 189 Landscape, 32, 40, 47, 110, 119, 138, Kagawa Ky¯oko, 83, 89, 181 224, 228, 233, 246, 250, 261 294 INDEX

La Verité/The Truth, 254 Maeda Oshiro,¯ 159, 163 Law, Jane Marie, 153, 157 Maki Y¯oko, 70, 168 Lawyer, 141, 168 Manbiki Kazoku. See Shoplifters Leader, Michael, 141, 142, 211, 246, Manga, 68, 93, 145, 150, 156, 212 260 Marginality, 24, 79, 85, 150, 197, 205 Lee Ping, Mark, 155, 157, 247 Masculinities, 145, 151, 176, 212, Lessons from a Calf , 20, 23, 25, 26, 242, 244 110, 201, 218, 244, 247, 250 McDonald, Keiko I., 32, 48, 51 Lewis, Diane Wei, 150 Memory(ies), vii, 9, 11, 12, 20, 24, 30, Lie(s), 70, 77, 132, 196–198 42, 59, 62, 71, 77–88, 107, 120, Lifton, Robert Jay, 101, 112 121, 124, 132, 138, 220, 224, Light/lighting, 29, 30, 39, 40, 42, 46, 238, 245, 252, 253, 255, 260 49, 79, 81, 97, 108, 109, 118, Mes, Tom, 125, 149, 157, 182, 190, 120, 121, 129, 132, 138, 219, 225, 235 220, 250 Metal, 5, 13, 179, 222 Like Father Like Son, 9, 10, 68, 97, 112, 130, 134, 165, 166, 169, Michiyuki, 45, 47, 54 171, 194, 206, 211, 217, 227, Mifune Toshir¯o, 181, 186 228, 238, 240–243, 247, 253 Miranda, Luis, 253, 261 Lily Franky, 71, 166, 175, 194, 211, Mirror, 35, 124, 140, 198, 255 244, 259 Miyagawa Kazuo, 88, 123 Liminality, 6, 10, 24, 46, 79, 80, 88, Miyamoto Teru, 33–35, 38, 39, 51, 92, 150, 156, 252 53, 218, 234, 256, 261 Lippit, Akira Mizuta, 40, 53 Miyazaki Hayao, 30, 147, 156 Loach, Ken, 1, 4, 95, 96, 111, 259 Miyazawa Kenji, 244, 259, 265 Lopate, Phillip, viii, ix, 207, 213, 240, Miyazawa Rie, 180, 181, 184, 187 258 Mizoguchi Kenji, 30, 39, 186, 224, Lottery, 69, 70, 229, 230 259 Love, 30, 41, 121, 147, 151, 153, 177, M¯o hitotsu no ky¯oiku—Ina sh¯ogak¯o 195, 205, 219, 234, 256 harugumi no kiroku. See Lessons Lyric essay, vii, ix from a Calf Monogatari, 147, 175, 178, 248 M Mono no aware, 7, 47, 234 Ma, 253 Montage, 43, 89, 116, 119, 161, 163, Maborosi, 8, 10, 29, 30, 32–37, 39–44, 171, 226, 235, 251 47, 49, 50, 52, 63, 65, 70, 72, 74, Moreau, Jeanne, 50 77, 79, 80, 118–120, 138, 139, Moreno, Nieves, 78, 88, 238, 258 152, 161, 162, 177, 196, 202, Morgenstern, Joe, 138, 139, 142 217–222, 227, 238, 240, 241, Mother(s), 11, 32, 33, 42, 61–63, 68, 243, 247, 249–253, 256, 257 70, 71, 81, 92–95, 98, 99, 101, Maborosi no hikari. See Maborosi 102, 106, 110, 119, 148, 152, Maeda K¯oki, 159, 163 159, 163, 167, 175, 197, 198, INDEX 295

200, 202, 221, 224, 233, 241, O 254, 254 Object(s), 2, 8, 41, 42, 54, 60, 92, Mountains, 6, 102, 118, 125 123, 147, 149, 150, 242, 247, Mourning, 7, 36, 62, 196, 218 248 Muñoz-Garnica, Miguel, 241, 258 Observation, 11, 163, 253 Murder, 71, 130, 133–137, 222, 231, Ocean, 46, 49, 59, 64, 177, 193, 196, 243, 250 201, 223, 251, 252 Music, 8, 29, 42, 43, 47, 72, 95, 111, Odagiri Joe, 145, 159 129, 131, 160, 174, 180, 186, Ofuro/ bath, 30, 82, 170, 202, 204 210, 228, 234, 253 Ohakamairi, 63, 175, 223 Okashi, 7, 12, 180 Okura Toraaki, 159, 163 N Omatsuri, 183 ¯ Nagaya, 180, 182–185, 187, 188, 240 Osaka, 31, 87 Nait¯o Takashi, 70, 77 Osenlund, 59 Nait¯o Taketoshi, 82 Our Little Sister, 9, 10, 45, 80, 97, Nakabori Masao, 39, 51, 247 112, 142, 152, 168, 169, 174, Nakama, 195, 211 175, 177, 205, 211, 229, 241, Naremore, James, 34 244, 247, 250 Narrator, 34, 217 Oya k¯ok¯o, 72, 241 Naruse Mikio, 1, 2, 13, 70 Ozu Yasujir¯o, 1–3, 4, 12, 59, 61, 64, 200, 202, 203, 220 Natsukawa Yui, 60, 116, 163, 180 Nature, 6, 7, 24, 44, 47, 85, 168, 170, 182 P Neupert, Richard, 217, 220, 234 Pachinko, 163, 195, 198 Nihonjin ni naritakatta. See I Wanted Paletz, Gabriel M., 26, 36, 52 to Be Japanese Parenting/parents, 21, 99, 100, 135, Ningy¯o, 149, 153, 154 160, 162, 165, 166, 168, 171, Nobody Knows, 10, 13, 32, 36, 77, 80, 175, 176, 185, 197, 202, 208, 91, 92, 95, 99–104, 110, 119, 232, 233, 240, 241 135, 148, 166, 168, 175, 180, Peep-show, 198, 199, 207 194, 196–198, 201, 207, 217, Photo/photograph, 23, 24, 42, 51, 220, 222, 232, 240–243, 247, 60, 61, 63, 64, 89, 120, 121, 133, 250, 253 137, 171 Noh, 7, 30, 37, 47, 86, 107, 115, 137, Plants, 92, 94, 96, 97, 240 139, 190 Playground, 71, 98, 166 Nolletti, Arthur, 23, 26, 61, 65, 91, Poem, 5, 6, 21, 30, 138, 162, 163, 93, 101, 125, 156, 236 176, 178, 179, 187, 226, 235 Nontraditional families, 239 Pond, 200, 204 Nordstrom, Johan, 182, 189 Prison, 94, 112, 136–139, 207, 213, Noto Peninsula, 32, 33, 51 232, 242, 253 Nuclear families, 239, 258 Propaganda, 186, 207 296 INDEX

Prostitute/prostitution, 101, 135, 185 Sea, 32, 33, 39, 43, 46, 47, 49, 51, 53, Puddle, 223 67, 80, 125, 146, 219, 220, 224, 252 Self-abuse, 198 R Shadow, 37, 39, 40, 42, 49, 107, 115, Rain/rainwater, 50, 68, 71, 118, 124, 138 151, 171, 194, 202, 252 Sharp, Jasper, 13, 25, 242, 259 Rayns, Tony, 24, 26, 40, 87, 89 Shikashi…Fukushi kirisute no jidai ni. Renga, 25 See However…in the time of Public Renoir, Jean, 35, 186 Welfare Cuts Resilience, 1, 238 Shikoku, 31 Revenge, 61, 86, 179, 180, 182, 184, Shimao Toshio, 68, 74 185, 187–189, 222, 223, 242 Richie, Donald, 35, 52, 78, 88, 140 Shint¯o, 6, 30, 39, 51, 115, 125 Riego, Javier Vives, 8, 15 Shirane Haruo, 14, 26 Risker, Paul, 15, 67, 210, 235, 237, Shoe, 41, 110, 137, 251, 255, 256 257 Shomingeki, 246, 260 Ritual(s), 79, 94, 107, 113, 124, 196, Shoplifters, 3, 9, 10, 45, 80, 105, 135, 224, 252 152, 168, 175, 193–198, 200, River, 30, 31, 116, 129, 134, 154, 201, 203, 204, 206–209, 217, 170, 200, 205, 206, 228, 251 218, 221, 232, 233, 239–243, Rojas, Alexander, 123, 126 245, 246, 248–251, 253 Romney, Jonathan, 135, 137, 141 Shoplifting, 93, 95, 169, 195–197, Ronald, Richard, 239, 258 201, 207, 249 Ruiz, Raúl, vii, 7, 253 Shrine, 182 Ry¯uChish¯u, 30, 31 Silence, 92, 110, 146, 248 Sitney,P.Adams,vii, ix Snow, 44, 46, 82, 137, 201, 252 S Snowman, 201 Sabi, 14 Son, 32, 59, 60, 64, 102, 166, 169, Sakura/cherry blossoms, 6, 81, 97, 171, 180, 188, 200, 202, 203, 138, 142, 174, 176, 189, 229 224, 238, 241, 244 Samurai, 179–183, 186–188, 190, 223, 240 Song, 20, 21, 43, 61, 62, 67, 80, 87, Sandome no satsujin. See The Third 109, 202, 220, 221, 230, 235 Murder Sorensen, Lars-Martin, 188, 191 Sat¯o Tadao, 154, 157 Soshite chichi ni naru. See Like Father Schilling, Mark, 32, 51, 64, 113, 123, like Son 126, 189, 208, 213 Sound, 120 School, 20, 34, 95, 99–101, 110, 160, Spirn, Anne Winston, 250, 260 161, 166, 173, 176, 188, 202, Stairs, 219, 250 207, 223, 238, 244, 250 Station, 33–34, 62, 72, 77, 93, 101, Scott, A.O., 103, 112, 175, 217, 234 110, 230 INDEX 297

Stealing, 105, 107, 196, 198, 203, Train(s), 6, 32, 33, 35, 37, 41, 46, 50, 207, 213, 249 54, 93, 101, 108, 110, 120, 123, Steps, 235 137, 159–161, 163, 167, 196, Stillness, 30 201, 206, 224, 230, 250 Still Walking, 9, 11, 59, 60, 62–64, Trauma, 64, 101, 238, 241, 251 67, 68, 71, 72, 77, 80, 130, 137, Tree, 24, 72, 174, 184, 229, 248 161, 169, 175, 222–224, 228, Truffaut, François, 95 235, 238, 240–243, 247, 251, Tsuji Nobuo, 244, 259 252, 255, 260 Tsunagari/connection, 146, 233 Strand, Mark, 237, 257 Tsurezuregusa (Kenk¯o), 217 Suicide, 31, 33, 36, 38, 44, 46, 54, Tunnel, 6, 32, 37, 250 116, 118, 120, 185, 219, 238, Turan, Kenneth, 208 250, 253 Turan, Kevin, 177, 178 Sukita Masayoshi, 82, 86 TV Man Union, 9, 20 Superstitions, 245 Typhoon, 51, 67, 69, 70, 71, 73, 229 Survivors, 1, 30, 39, 101, 118, 207, 220, 238, 241, 249, 250 Switched baby, 165, 171, 228, 242 U Ugetsu, 79, 86, 120, 122 Umi yori mo mada fukaku. See After the Storm T Takimoto Mikiya, 129, 171, 247 Tanizaki Jun’ichir¯o, 149, 174, 229 V Tarkovsky, Andrey, vii, ix, 11, 47, 138, Van Ommen, Merel, 111, 235 256, 257, 261 Vigo, Jean, 95 Tatemae, 198, 209, 212 Violence, 25, 124, 167, 180, 184, 188 Tate Takako, 93, 111, 113 Volcano, 159, 162, 201, 226 Teacher, 21, 22, 96, 107, 117, 146, 164, 182, 188, 202, 223, 244 Teapot, 41 W Temple, 229 Wabi , 7, 45 Terajima Susumu, 60, 77, 88, 104, Wada-Marciano, Mitsuyo, 61, 65 117, 145, 187, 259 Wandafuru raifu. See After Life Thain, Alanna, 78, 82, 86–89 Waka, 30, 178 The Third Murder, 5, 7, 9, 24, 74, 80, Water, 5, 25, 30, 44, 49, 63, 64, 120, 125, 129–135, 138–141, 67, 71, 82, 92, 94, 96, 97, 99, 169, 171, 187, 200, 201, 207, 103, 105, 108, 116, 118, 120, 208, 217, 231, 238, 240–243, 121, 129, 147, 150, 169, 170, 246, 250, 252 182, 194, 200, 202, 218, 220, Thomas, Kenneth, 40, 53 222–224, 226, 248, 251, 252, Tokyo, viii, 6, 9, 71, 91, 101, 116, 256 168, 179, 185, 187, 194 Waves, 30, 33, 40, 178, 218, 229 298 INDEX

Wee, Brandon, 59, 63 Y White, Merry Isaacs, 100, 112 Yagira Y¯uya, 10, 91, 103–105, 110, 111 Wilson, Emma, 107, 113 Yakusho K¯oji, 72, 129, 130, 134, 136, Wind chimes, 154, 225 141, 187 Window, 120, 198, 220, 226 Yamanaka Sadao, 182, 189 Yamazaki Yutaka, 108 Without Memory, 20, 64, 84, 85, 89, Yanagimachi Mitsuo, 125 209, 241, 247 Yoj¯o, 8 Women, 35, 39, 55, 72, 130, 135, 151, Yoneyama Toshinao, 195 152, 161, 169, 178, 181, 212, Yoshida Kenk¯o, 234 229, 255 You [Ehara Yukiko], 60, 91, 95, 259 Wood, Robin, 224, 235, 258 Y¯ugen, 7, 15, 42, 47, 54