DOCSLIB.ORG

Bibliography Altman, Rick (2003), Film/Genre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography Altman, Rick (2003), Film/Genre Cover Page The following handle holds various files of this Leiden University dissertation: http://hdl.handle.net/1887/61126 Author: Mes, T.P. Title: V-Cinema: canons of Japanese film and the challenge of video Issue Date: 2018-01-09 Bibliography Altman, Rick (2003), Film/Genre. London: British Film Institute Abe, Kashō (2000), Nihon eiga ga sonzai Alvarado, Manuel (ed.) (1988), Video World- suru (Japanese cinema exists). Tokyo: Wide: An International Study. Paris: United Seidosha Nations Educational, Scientific and Cultural Abel, Richard (ed.) (2005), Encyclopedia of Organisation / London: John Libbery & Early Cinema. New York: Routledge Company Acland, Charles R. (2009), ‘The Last Days of Anderson, Joseph L. and Donald Richie Home Video,’ Flowtv.org, (1982), The Japanese Film: Art and Industry. http://flowtv.org/2009/11/the-last-days-of- Princeton: Princeton University Press videotapecharles-r-acland-concordia- Andrew, Dudley (2000), ‘The ‘Three Ages’ of university/ [accessed: March 12, 2015] Cinema Studies and the Age to Come,’ PMLA, Alexander, Arthur (2008), The Arc of Japan's vol. 115, no. 3 (May 2000), pp. 341-351 Economic Development. London and New Andrew, Dudley (2009), ‘Time Zones and Jet York: Routledge Lag – the Flows and Phases of World Cinema,’ Alilunas, Peter (2010), ‘The Death and Life of in World Cinemas, Transnational Perspectives, the Back Room’, Media Fields Journal, 1 (1) Nataša Durovicová and Kathleen E. Newman 9 Alilunas, Peter (2014), ‘The Necessary Future eds.). New York: Routledge, 74 of Adult Media Industry Studies,’ Creative Industries Journal, 7:1, 62-66 312 ! Arnaud, Diane (2007), Kiyoshi Kurosawa: http://flavorwire.com/535481/netflix-is-losing-a- Mémoire de la disparition. Pertuis: Rouge ton-of-movies-to-hulu [accessed: January 4, Profond 2017] Austin, Thomas (2001), Hollywood, Hype and Bailey, Jason (2015b), ‘The Premature Death Audiences: Selling and Watching Popular Film of Physical Media – and the Cult Home Video in the 1990s. Manchester: Manchester Labels Keeping It Alive’. Flavorwire, University Press September 2, 2015, Azoury, Philippe (2002), ‘La terreur tirée à http://flavorwire.com/535883/the-premature- quatre épingles’, Libération, March 6, 2002 death-of-physical-media-and-the-cult-home- Baecque, Antoine de and Serge Toubiana video-labels-keeping-it-alive [accessed: (2000), Truffaut: A Biography. Berkeley and January 8, 2017] Los Angeles: University of California Press Balmain, Colette (2006), ‘Inside the Well of Bailey, Jason (2013), ‘Netflix’s Loneliness: Toward a Definition of the ‘Streamageddon’: Why Do Streaming Video Japanese Horror Film’. Electronic Journal of Services Still Suck?’, Flavorwire, May 2, 2013, Contemporary Japanese Studies, http://flavorwire.com/388884/netflixs- http://www.japanesestudies.org.uk/discussionp streamageddon-why-do-streaming-video- apers/2006/Balmain.html services-still-suck [accessed; January 4, 2017] Balmain, Colette (2009), Introduction to Bailey, Jason (2015), ‘Netflix Is Losing a Ton of Japanese Horror Film. Edinburgh: Edinburgh Movies to Hulu’, Flavorwire, August 31, 2015, University Press ! 313 Barthes, Roland (1989), The Rustle of Beebe, Roger (2010), ‘Pedagogical Spaces, Language. Berkeley and Los Angeles: or, What We’ve Lost in the Post-Video-Store University of California Press Era’, Media Fields Journal, 1 (1) Barthes, Roland (2005), L’Empire des signes, Benjamin, Walter (1992), ‘The Work of Art in Paris: Éditions du Seuil the Age of Mechanical Reproduction’, in: Barthes, Roland (2013), Mythologies. New Arendt, Hannah (ed.) Illuminations. London: York: Hill and Wang Fontana, pp. 214–218 Barzilai-Nahon, Karine (2008), ‘Toward a Benson-Allott, Caetlin (2013), Killer Tapes and Theory of Network Gatekeeping: A Framework Shattered Screens: Video Spectatorship from for Exploring Information Control’. Journal of VHS to File Sharing. Berkeley: University of the American Society for Information Science California Press and Technology 59 (9) (2008): 1493-1512 Benson-Allott, Caetlin (2015), Remote Control. Baskett, Michael (2008), The Attractive New York: Bloomsbury Academic, 2015 Empire: Transnational Film Culture in Imperial Berry, Chris (1990), ‘Our Problem Cinema: The Japan. Honolulu: University of Hawai’i Press Challenge of Japanese Cinema’, Continuum: Baskett, Michael (2014), ‘Japan’s Film Festival The Australian Journal of Media & Culture, Diplomacy in Cold War Asia’, Velvet Light Trap Vol.4, No. 1, 1990, pp. 193-198 73, pp. 4-18 Bideopia. Kinema Junpō Bessatsu. Tokyo: Kinema Junpōsha, August 1971 314 ! Bishop, Bryan, ‘Netflix losing almost 1,800 Bordwell, David and Kristin Thompson (1990), titles from its streaming library’, The Verge, Film Art: An Introduction, third edition. New April 30, 2013, York: McGraw-Hill http://www.theverge.com/2013/4/30/4287902/n Bordwell, David and Kristin Thompson (2013), etflix-losing-almost-1800-titles-from-its- Film Art: An Introduction, tenth edition. New streaming-library-starting-tomorrow [accessed: York: McGraw-Hill January 4, 2017] Bourdieu, Pierre (2010), Distinction: A Social Bordwell, David (1979), ‘Our Dream-Cinema: Critique of the Judgement of Taste. London: Western Historiography of the Japanese Film’, Routledge Film Reader 4 (1979): 45–62 Bourdon, Jérôme (2015), ‘Detextualizing: How Bordwell, David (1988), Ozu and the Poetics of to Write a History of Audiences’, European Cinema. Princeton: Princeton University Press Journal of Communication 2015, Vol. 30 (1), Bordwell, David (2011), Planet Hong Kong: pp. 7-21 Popular Cinema and the Art of Entertainment. Bowser, Rachel A., and Brian Croxall (eds.) Madison: Irvington Way Institute Press (2016), Like Clockwork: Steampunk Pasts, Bordwell, David and Noël Carroll (ed.) (1996), Presents, and Futures. St. Paul: University of Post-Theory: Reconstructing Film Studies. Minnesota Press Madison: The University of Wisconsin Press Bowyer, Justin (ed.) (2004), The Cinema of Japan and Korea. London: Wallflower Press ! 315 Bradshaw, Peter (2001), ‘Audition’, The Calorio, Giacomo (2007), Mondi che cadono, Il Guardian, March 16, 2001 cinema di Kurosawa Kiyoshi, Milano: Editrice Il Broderick, Mick (ed.) (1996), Hibakusha Castoro Cinema: Hiroshima, Nagasaki and the Nuclear Canby, Vincent (1985), ‘Confessions of a VCR Image in Japanese Film. London: Kegan Paul Recruit’, The New York Times, November 24, International 1985 Burch, Noël (1979), To the Distant Observer: Caughie, John (2013), Theories of Authorship. Form and Meaning in the Japanese Cinema. London: Routledge Berkeley: University of California Press Cazdyn, Eric (2006), The Flash of Capital: Film Buruma, Ian (1985), Behind the Mask, On and Geopolitics in Japan. Durham and London: Sexual Demons, Sacred Mothers, Duke University Press Transvestites, Gangsters and Other Japanese Chaplin, Sarah (2007), Japanese Love Hotels: Cultural Heroes, New York: Meridian A Cultural History. London and New York: Buruma, Ian (1995), ‘A case of overkill’, Index Routledge On Censorship (6), 1995, pp. 46-47 Chaudhuri, Shohini (2005), Contemporary Buscombe, Ed (2003), ‘The Idea of Genre in World Cinema. Edinburgh: Edinburgh American Cinema’, in: Barry Keith Grant (ed.), University Press Film Genre Reader 3. Austin: University of Ching, Leo (1994), ‘Imaginings in the Empires Texas Press, pp. 12-26 of the Sun: Japanese Mass Culture in Asia’, 316 ! Boundary 2, Spring 1994, Vol.21 (1), pp. 198- Clements, Jonathan and Helen McCarthy 219 (1998), The Erotic Anime Movie Guide. Choi, Jinhee and Mitsuyo Wada-Marciano London: Titan Books (2009), Horror to the Extreme: Changing Clements, Jonathan and Helen McCarthy Boundaries in Asian Cinema. Hong Kong: (2006), The Anime Encyclopedia. Berkeley: Hong Kong University Press Stone Bridge Press Chung, Hye Seung (2012), Kim Ki-duk. Clover, Carol J. (1992), Men, Women and Champaign: University of Illinois Press Chainsaws, Gender in the Modern Horror Film, Church, David (2014), Retrosploitation: Princeton: Princeton University Press Cultural Memory, Home Video, and Coci, Gianluca (ed.) (2013), Japan Pop: Contemporary Experiences of Exploitation Film Parole, immagini, suoni dal Giappone Fandom. Ph.D. dissertation. Bloomington: contemporaneo. Rome: Aracne editrice Indiana University Cohen, Margaret (1999), The Sentimental Clements, Jonathan (2013), Anime: A History. Education of the Novel, Princeton: Princeton London: British Film Institute University Press Clements, Jonathan (2014), A History of the Comolli, Jean-Louis, and Jean Narboni (1977), Japanese Animation Industry: Developing ‘Cinema/ideology/criticism’, Screen Reader 1: Technologies, Changing Formats and Evolving Cinema/Ideology/Politics, London: Society for Audiences. Dissertation. Swansea: Swansea Education in Film and Television Metropolitan University ! 317 Corman, Roger with Jim Jerome (1998), How I Chinese Film and TV. Berkeley: University of Made a Hundred Movies in Hollywood and California Press Never Lost a Dime. New York: Da Capo Press Dargis, Manola (2005), ‘Sometimes Blood Corse, Sarah M. (2009), ‘Nationalism and Really Isn’t Indelible’, The New York Times, Canon-Formation’, in: Elizabeth Sauer and March 3, 2005 Julia M. Wright (eds.), Reading the Nation in Davis, Darrell William (2003), ‘Compact English Literature: A Critical Reader. London Generation: VCD Markets in Asia’, Historical and New York: Routledge, pp. 211-219 Journal of Film, Radio and Television, Volume Cowan, Ruth Schwartz (1987), ‘The 23, Issue 2 Consumption Junction: A Proposal for Davis, Darrell William and Yeh Yueh-yu Research Strategies in the Sociology of
Load more

Recommended publications
  • Cine Japonés: Tradición Y Condicionantes Creativos Actuales
    Historia y Comunicación Social ISSN: 1137-0734 Vol. 7 (2002) 253-266 Cine japonés: Tradición y condicionantes creativos actuales. Una revisión histórica ANA MARÍA SEDEÑO VALDELLÓS RESUMEN El artículo trata de resumir las fases fundamentales del cine nipón, desde su naci- miento documental a finales del siglo XIX hasta los inicios del nuevo milenio. Se des- criben y ordenan las etapas básicas de su desarrollo, se buscan las causas históricas, sociales y culturales que explican la especial configuración de una filmografía incom- parable, exótica y, a la vez, tan cercana, una de los más prestigiosas del panorama ci- nematográfico mundial. ABSTRACT This article tries to sum up the basic phases of japanese cinematography, from its origin at the end of the niniteen century to the beginning of this millenium. The essen- tial stages are described and put in order, the historical, social and cultural reasons are searched. They all expound the special shape of this exotic cinema, one of the worthier in the world scene. 1. INTRODUCCIÓN En el presente artículo van a repasarse algunos de los acontecimientos his- tóricos que han condicionado el cine del país del sol naciente: elementos de la tradición más ancestral, imperialismos económicos y burocráticos... Todo esto ha marcado una de las industrias más prolíficas del mundo, absolutamente misteriosa para la mayoría de los habitantes del planeta y de la que los críticos y expertos cinematográficos no ha visto ni la mitad de la producción existente, mientras la otra parte es inaccesible (duerme en cinematecas remotas) o ha de- saparecido. Una cinematografía compleja llena de matices estilísticos y con una extraordinaria variedad de géneros, subgéneros y temas que han evolucionado rápidamente en el último siglo bajo dos estigmas históricos: el gran peso de la 253 Ana M.a Sedeño Valdellós Cine japonés: Tradición y condicionantes creativos actuales tradición, folklore y hábitos sociales nipones y la necesidad de un vínculo co- mercial con la industria occidental, sobre todo desde la ocupación norteameri- cana de la posguerra.
    [Show full text]
  • Filmography of Case Study Films (In Chronological Order of Release)
    FILMOGRAPHY OF CASE STUDY FILMS (IN CHRONOLOGICAL ORDER OF RELEASE) Kairo / Pulse 118 mins, col. Released: 2001 (Japan) Director: Kiyoshi Kurosawa Screenplay: Kiyoshi Kurosawa Cinematography: Junichiro Hayashi Editing: Junichi Kikuchi Sound: Makio Ika Original Music: Takefumi Haketa Producers: Ken Inoue, Seiji Okuda, Shun Shimizu, Atsuyuki Shimoda, Yasuyoshi Tokuma, and Hiroshi Yamamoto Main Cast: Haruhiko Kato, Kumiko Aso, Koyuki, Kurume Arisaka, Kenji Mizuhashi, and Masatoshi Matsuyo Production Companies: Daiei Eiga, Hakuhodo, Imagica, and Nippon Television Network Corporation (NTV) Doruzu / Dolls 114 mins, col. Released: 2002 (Japan) Director: Takeshi Kitano Screenplay: Takeshi Kitano Cinematography: Katsumi Yanagijima © The Author(s) 2016 217 A. Dorman, Paradoxical Japaneseness, DOI 10.1057/978-1-137-55160-3 218 FILMOGRAPHY OF CASE STUDY FILMS… Editing: Takeshi Kitano Sound: Senji Horiuchi Original Music: Joe Hisaishi Producers: Masayuki Mori and Takio Yoshida Main Cast: Hidetoshi Nishijima, Miho Kanno, Tatsuya Mihashi, Chieko Matsubara, Tsutomu Takeshige, and Kyoko Fukuda Production Companies: Bandai Visual Company, Offi ce Kitano, Tokyo FM Broadcasting Company, and TV Tokyo Sukiyaki uesutan jango / Sukiyaki Western Django 121 mins, col. Released: 2007 (Japan) Director: Takashi Miike Screenplay: Takashi Miike and Masa Nakamura Cinematography: Toyomichi Kurita Editing: Yasushi Shimamura Sound: Jun Nakamura Original Music: Koji Endo Producers: Nobuyuki Tohya, Masao Owaki, and Toshiaki Nakazawa Main Cast: Hideaki Ito, Yusuke Iseya, Koichi Sato, Kaori Momoi, Teruyuki Kagawa, Yoshino Kimura, Masanobu Ando, Shun Oguri, and Quentin Tarantino Production Companies: A-Team, Dentsu, Geneon Entertainment, Nagoya Broadcasting Network (NBN), Sedic International, Shogakukan, Sony Pictures Entertainment (Japan), Sukiyaki Western Django Film Partners, Toei Company, Tokyu Recreation, and TV Asahi Okuribito / Departures 130 mins, col.
    [Show full text]
  • Newsletter 09/07 DIGITAL EDITION Nr
    ISSN 1610-2606 ISSN 1610-2606 newsletter 09/07 DIGITAL EDITION Nr. 206 - April 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 09/07 (Nr. 206) April 2007 editorial Hallo Laserdisc- und DVD-Fans, und Fach. Wie versprochen gibt es dar- diesem Editorial auch gar nicht weiter liebe Filmfreunde! in unsere Reportage vom Widescreen aufhalten. Viel Spaß und bis zum näch- Es hat mal wieder ein paar Tage länger Weekend in Bradford. Also Lesestoff sten Mal! gedauert, aber nun haben wir Ausgabe satt. Und damit Sie auch gleich damit 206 unseres Newsletters unter Dach beginnen können, wollen wir Sie mit Ihr LASER HOTLINE Team LASER HOTLINE Seite 2 Newsletter 09/07 (Nr. 206) April 2007 US-Debüt der umtriebigen Pang-Brüder, die alle Register ihres Könnens ziehen, um im Stil von „Amityville Horror“ ein mit einem Fluch belegtes Haus zu Leben zu erwecken. Inhalt Roy und Denise Solomon ziehen mit ihrer Teenager-Tochter Jess und ihrem kleinen Sohn Ben in ein entlegenes Farmhaus in einem Sonnenblumenfeld in North Dakota. Dass sich dort womöglich übernatürliche Dinge abspielen könnten, bleibt von den Erwachsenen unbemerkt. Aber Ben und kurz darauf Jess spüren bald, dass nicht alles mit rechten Dingen zugeht. Weil ihr die Eltern nicht glauben wollen, recherchiert Jess auf eigene Faust und erfährt, dass sich in ihrem neuen Zuhause sechs Jahre zuvor ein bestialischer Mord abgespielt hat. Kritik Für sein amerikanisches Debüt hat sich das umtriebige Brüderpaar Danny und Oxide Pang („The Eye“) eine Variante von „Amityville Horror“ ausgesucht, um eine amerikanische Durchschnittsfamilie nach allen Regeln der Kunst mit übernatürlichem Terror zu überziehen.
    [Show full text]
  • JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021)
    H-Japan JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021) Discussion published by Joel Neville Anderson on Friday, August 13, 2021 Dear H-Japan subscribers, The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the hybrid 15th edition of the festival, slated for August 20 - September 2, 2021: https://www.japansociety.org/arts-and-culture/films/japan-cuts-festival-of-new-japanese-film Films will again be available to rent via video streaming (across the U.S., with some titles accessible worldwide), in addition to select in-person screenings at Japan Society in NYC following health and safety policies. Expanding the festival’s reach beyond New York, the lineup includes 27 features and 12 short films. The exclusive selection will be supplemented with recorded introductions from filmmakers and live video discussions via social media channels to maintain the festival’s sense of community and dedication to intercultural communication. The Centerpiece Presentation is WIFE OF A SPY (dir. Kiyoshi Kurosawa), awarding the 2021 CUT ABOVE Award for Outstanding Achievement in Film to Yu Aoi. Along with the Feature Slate, Classics, Documentary Focus, Experimental Spotlight, and Shorts Showcase, the second edition of the Next Generation section highlighting independently produced narrative feature films by emerging directors will be juried by film scholar Kyoko Hirano; Brian Hu, Artistic Director of Pacific Arts Movement; and Japanese film subtitler and translator Don Brown, awarding the Obayashi Prize. Please browse the entire dynamic lineup on the website, listed below by program section: FEATURE SLATE - Aristocrats (dir.
    [Show full text]
  • Print 2021.1.5 Updated
    BIOGRAPHY Ryo Kase Ryo Kase was born on November 9, 1974 in Kanagawa, Japan. Shortly after birth his family moved to Washington, United States, where he spent most of his childhood. Kase began his acting career in 2000 and gained his first starring role in Kazuyoshi Kumakiri’s Antenna (2004). He then went on to work with several internationally renowned Japanese film directors, including Takashi Kitano, Hirokazu Koreeda and Kiyoshi Kurosawa. His first appearance in an International film was Clint Eastwood’s Letters from Iwo Jima (2006). He continued to appear in several high-profile international films including Gus Van Sant’s Restless (2011), Abbas Kiarostami’s Like Someone in Love (2012), Hong Sang-soo’s Hill of Freedom (2014), Martin Scorsese’s Silence (2017) and Bel canto (2018). He is a recipient of multiple awards, including a nomination for Japan Academy Award, Blue Ribbon Award, Hochi Film Award and Asian Film Award. 5.January.2021 FILMOGRAPHY <MOVIE> 2020 MINAMATA Andrew Levitas The Works and Days C.W. Winter, Anders Edström (of Tayoko Shiojiri in the Shiotani Basin) 2019 TO THE ENDS OF THE EARTH Kiyoshi Kurosawa 2018 Bel Canto Dir. Paul Weitz LYING TO MOM (aka The Suzuki Family’s Lie.) Dir. Katsumi Nojiri Mori, The Artist’s Habitat Dir. Shuichi Okita 2017 Moonlight Shimo Ochiai Dir. Tasuku Emoto March comes in like a lion Dir. Keishi Otomo SILENCE Dir. Martin Scorsese 2016 Azumi Haruko wa Yukue Fumei Dir. Daigo Matsui 2015 FOUJITA Dir. Kohei Oguri Our Little Sister Dir. Hirokazu Koreeda 2014 Hill of Freedom Dir. Hong Sang-Soo My Hawaiian Discovery Dir.
    [Show full text]
  • Last Tango in Paris (1972) Dramas Bernardo Bertolucci
    S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 .
    [Show full text]
  • The Undead Subject of Lost Decade Japanese Horror Cinema a Thesis
    The Undead Subject of Lost Decade Japanese Horror Cinema A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Jordan G. Parrish August 2017 © 2017 Jordan G. Parrish. All Rights Reserved. 2 This thesis titled The Undead Subject of Lost Decade Japanese Horror Cinema by JORDAN G. PARRISH has been approved for the Film Division and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract PARRISH, JORDAN G., M.A., August 2017, Film Studies The Undead Subject of Lost Decade Japanese Horror Cinema Director of Thesis: Ofer Eliaz This thesis argues that Japanese Horror films released around the turn of the twenty- first century define a new mode of subjectivity: “undead subjectivity.” Exploring the implications of this concept, this study locates the undead subject’s origins within a Japanese recession, decimated social conditions, and a period outside of historical progression known as the “Lost Decade.” It suggests that the form and content of “J- Horror” films reveal a problematic visual structure haunting the nation in relation to the gaze of a structural father figure. In doing so, this thesis purports that these films interrogate psychoanalytic concepts such as the gaze, the big Other, and the death drive. This study posits themes, philosophies, and formal elements within J-Horror films that place the undead subject within a worldly depiction of the afterlife, the films repeatedly ending on an image of an emptied-out Japan invisible to the big Other’s gaze.
    [Show full text]
  • Download Chapter (PDF)
    7. The Transnational Uncanny Child Abstract Chapter Seven considers the Hollywood J-horror remakes and Spanish- American coproductions that emerged in the early 21st century as a response to the globally successful boom of uncanny child films. The chapter considers how this assemblage of films is self-consciously trans- national, as the uncanny child becomes disconcertingly ungrounded from specific visions of national identity. In these films, the uncanny children stage direct confrontations with the child’s shifting role in postmodern culture. Through their cultural hybridity, the uncanny children in transnational horror navigate tensions underlying not only shifting understandings of childhood but changing global cinema cultures in the early 2000s. Keywords: Transnational cinema, Childhood, Globalization, Deterrito- rialization, Cultural hybridity Through their deployment of uncanny children who expose and trouble the child’s overdetermined, sometimes paradoxical temporal function, all the films discussed in this book so far communicate with one another in profound ways. Previous chapters have outlined how the uncanny child emerges from culturally specific contexts as an embodiment and agent of trauma at the turn of the 21st century, aestheticizing a breach in linear narratives of personal and national identity. The uncanny child is thus a product of this unsettled moment of transition in which entrenched histori- cal narratives seemed to waver, harnessing this liminality to problematize the child’s imbrication in progressive temporal modes with specific cultural functions. Though these films emerge from and speak to culturally specific contexts, they exchange themes and aesthetics in a manner that helps them to envision new ways for the child to erupt through its symbolic bounds at the millennial turn, as traditional understandings of childhood’s symbolic function started to come undone.
    [Show full text]
  • On Kiyoshi Kurosawa's Cure
    Situations 9.2 (2016): 67–81 ISSN: 2288–7822 The Death of Horror: On Kiyoshi Kurosawa’s Cure Peter Y. Paik (University of Wisconsin) Abstract This article makes the case that horror cinema is undergoing a fundamental shift which depicts the dissolution of the emotion of horror itself. This change in the genre is anticipated by the Japanese film Cure (1997), directed by Kiyoshi Kurosawa. Cure focuses on a series of murders committed by people who have fallen under the power of a hypnotist. The film’s protagonist, a detective, discovers that the murders constitute the performance of a ritual by a cult from the 19th century. The detective’s fragile mental condition, however, makes him vulnerable to the suggestions of the drifter who has been hypnotizing various individuals to commit murder. The investigation derails into the detective’s initiation into a cult that has the apparent objective of destroying society by mass murder. To achieve this goal, the hypnotist eliminates in his victims their reflex and feeling of horror at the idea of killing other human beings. This plot element enables Cure to turn the genre against itself by evoking a perspective in which one no longer experiences horror at committing murder and butchery. The loss of the emotion of horror in Cure anticipates recent trends in horror cinema that point to the dissolution of horror itself as a genre. Keywords: Cure, Kiyoshi Kurosawa, hypnosis, mass murder, genre, horror, initiation, social disintegration 68 Peter Y. Paik Introduction The contemporary Japanese filmmaker Kiyoshi Kurosawa (no relation to Akira Kurosawa) is notable for having made a cycle of horror films in which a single, seemingly random crime is revealed as being one of a series of similar acts of violence.
    [Show full text]
  • Quoi Que Mieux Qu'un Numéro Spécial Esclave Pour Vous Parler
    Éditorial No-Xice© #025 Dis mon nom ! Esclave ! Vous l’aviez sans doute remar- qué, depuis le dernier No-Xice (sur les clodous), il y a eu du chan- gement : Nouvelle maquette, de nouveaux rédacteurs, du guest à chaque numéro, et surtout, des thématiques plus recherchées ! Ayant épuisés notre quota de thèmes « classiques » au cours de la vingtaine de numéros précédents, nous nous attaquons donc à des sujets un peu plus « borderlines », quitte à assumer à fond notre ton No-Xicien. Dans ce nouveau numéro, sobrement intitulé « Dis mon nom! Esclave ! », nous avons donc le plai- sir d’accueillir un célèbre expert ès-Maid en la personne d’Axel, qui tient depuis de nombreuses années un blog de qualité dédié au sujet http://www.meido-rando. net/, mais également un nou- veau venu, Shyne, émo-rédacteur de son état ! C’est donc avec plaisir qu’il a accueilli nos coups de fouet lors de son bizutage d’intégration, un timing parfait en regard du thème de ce nouveau numéro ! Torog © 2003-2013 No-Xice©. Tous droits réservés. No-Xice©, No-Xicien(ne), Studio No-Xice©, Édition No-Xice©, Staff No-Xice©, Prestation No- Xice©, Projet No-Xice©, Solstice, Equinox, Zenith, Requiem, La Gazette No-Xice©, Wi-Xice©, Paro-Xice©, Guide No-Xice©, Inflow, Anamnesis, Stargate Coalition, H.K., sont des marques de No-Xice©. Les opinions exprimées dans ce fanzine n'engagent que leurs auteurs respectifs. Les textes, images, photographies, et dessins sont © copyright de leurs auteurs respectifs. Première parution : 19 janvier 2013. #3 Maid in Japan Et même qu’on peut mettre un sous-titre Bon, en théorie si vous lisez ce fanzine, et cet article, c’est que vous êtes soit maître, soit esclave, ou que vous voulez devenir l’un des deux.
    [Show full text]
  • FRENCH CINEMA PARIS / JANUARY 12-16, 2017 ÉDITO L’Année 2016 Restera Dans Les Mémoires Comme Une Année Pleine De Paradoxes Et De Contradictions
    19th RENDEZ-VOUS WITH FRENCH WWW.unifrance.orG @uniFrance @uniFrance CINEMA unifrance PARIS / JANUARY 12-16, 2017 MY FRENCH FILM FESTIVAL + RDV CINEMA FRANCAIS • 170 x 220 mm • PPR • Q • VISUEL : MAN • Remise le 05/12 OM • BAT La vie est un sport magnifique LACO_1610270_Man_170x220.indd 1 05/12/2016 10:32 30.11.2016 18:05 (tx-vecto)-PDF_1.3_PDFX_1a_2001_300dpi_YMCK_ISOcoatedv2-39L_ISOcoated_v2_300_eci 19th RENDEZ-VOUS WITH FRENCH CINEMA PARIS / JANUARY 12-16, 2017 ÉDITO L’année 2016 restera dans les mémoires comme une année pleine de paradoxes et de contradictions. Un cinéma français toujours envié, apprécié, réclamé partout dans le monde, marqué cependant par des fragilités conjoncturelles mais conservant une visibilité de premier plan dans les festivals du monde entier. L’animation reste un point fort de notre production. Et du film d’auteur à la comédie, la diversité des genres reste notre principal atout. Les Rendez-vous du cinéma français à Paris, forts de ses participants toujours fidèles, sont une fois de plus le rendez-vous incontournable des professionnels passionnés par le cinéma français. © Patrick Swirc Patrick © Vive le cinéma français et excellente année à tous ! 2016 will go down as a year full of paradoxes and contradictions. French cinema is still popular, appreciated and in demand around the world, yet is affected by short-term fragility, whilst retaining top-notch visibility in festivals worldwide. Animation is still a strong point in our output. And from auteur films to comedy, diversity of genres remains our main asset. With its loyal industry following, the Rendez-vous with French Cinema in Paris will once again be a key gathering for professionals with a passion for Gallic filmmaking.
    [Show full text]
  • Kurosawa Kiyoshi Profile Prepared by Richard Suchenski Articles Translated by Kendall Heitzman Profile
    Kurosawa Kiyoshi Profile prepared by Richard Suchenski Articles translated by Kendall Heitzman Profile Born in Kobe in 1955, Kurosawa Kiyoshi became interested in filmmaking as an elementary school student after he saw films by Italian horror filmmakers Mario Bava and Gorgio Ferroni. He formed a filmmaking club in high school and made his first Super 8mm short film, Rokkô, in 1973. Kurosawa continued making short 8mm films as a student at Rikkyô University, where he began to attend classes on cinema taught by Hasumi Shigehiko, the most important film critic and theorist of his era. Hasumi’s auteurist approach and deep admiration for American cinema of the 1950s deeply influenced a generation of Rikkyô students that, in addition to Kurosawa, included Suo Masayuki, Shiota Akihiko, Aoyama Shinji, and Shinozaki Makoto. While still a student, Kurosawa won a prize for his film Student Days at the Pia Film Festival in 1978. After presenting Vertigo College at Pia in 1980, he worked on Hasegawa Kazuhiko’s The Man Who Stole the Sun (1979) and Sômai Shinji’s Sailor Uniforms and Machine Guns (1981). Kurosawa was invited to join the Directors Company, an alternative to the major studios that offered creative freedom to young directors such as Hasegawa and Sômai. Under their auspices, he made his feature film debut with the pink film, The Kandagawa Wars, in 1983. Kurosawa next attempted to work directly for a major studio by directing a Nikkatsu Roman Porno entitled Seminar of Shyness, but the studio rejected the film, claiming that it lacked the requisite love interest. The film was eventually purchased from Nikkatsu and released as The Do-Re-Mi-Fa Girl in 1985, but the incident gave him a reputation as an idiosyncratic character and made securing funding for other studio projects difficult.
    [Show full text]