AS 320 Through Film IES Abroad

DESCRIPTION: Like newspapers, magazines, novels and other written materials, films offer scholars an interpretation of the society they depict, through the eyes of the writers and directors who create them. Feature films can be used to study both the subjects they narrate, and the societies in which they were created and enjoyed. And while movies cannot be as “true” representations of reality—just like books, articles, diaries, documents or any other source they are interpretations and, as such, must be subject to critical scrutiny—when examined carefully, and in conjunction with other information on the subject, films provide us an invaluable source of information about the societies they portray, and the societies that produce them.

The purpose of this course is, therefore, twofold: It seeks first to deepen understanding of Japan’s society, culture, and people, through analysis of various films, produced by Japanese masters of cinematography, particularly from the post-World War II period to the present. And second, it seeks to give students practical experience in critical analysis, and to deepen their analytical skills and their ability to evaluate evidence, through the use of film as one form of evidence. Students will view films in class, and then analyze, critique, and discuss the story and its social background. In addition, we will touch on the history of Japanese cinema and the motion picture industry itself.

CREDITS: 3

CONTACT HOURS: 45

LANGUAGE OF PRESENTATION: English with use of relevant Japanese terms; all Japanese films will be shown with English subtitles

PREREQUISITES: none

ADDITIONAL COST: none

METHOD OF PRESENTATION: • Films • Lectures • Discussions

REQUIRED WORK AND FORM OF ASSESSMENT: • Course participation - 10% • Weekly Analysis Papers – 50% • Midterm Exam - 20% • Final Exam - 20%

Assignment Guidelines A film analysis is not a review or summary of the plot; it should go deeper into analysis and reaction. It should discuss the issues raised by the film, address the film’s importance and purpose, state reactions to the content and quality of the film, and connect it to ideas and material presented in class. Your paper can focus on any almost any aspect of the week’s film, but should identify and relate the main themes of the film to class readings and discussions, and address the film’s representation of Japanese society and culture. You should also address, or at least consider, the following questions:

• What outstanding motifs and parallels emerge for the film's plot, settings, characters, etc.? • What parallel traits do the characters share? How are they contrasted?

• How does the film encourage us to feel about and understand them? • What is the film’s message—what is the film trying to say? • How do you evaluate the film for quality and interest? Consider the acting, direction, production values and music. What strikes you as strange or particularly well done? Why? Are any literary techniques, such as symbolism, character development or foreshadowing used? • What does the film attempt to describe about changing Japanese society? What conclusions about Japanese society do you draw from the film? • How does this film correlate with what you’ve learned from class discussions, readings and the like? Does it contradict or support what you’ve learned elsewhere? • Are there aspects of the story that transcend cultural boundaries? Why or why not?

Each paper should be around 800-1200 words in length. Please do not exceed this length: it is, in fact, more difficult and challenging to write a concise, and yet substantial paper than a longer rambling one.

There is no need to summarize the story, except as necessary to explain or argue your point. Focus instead on analyzing the story or the film and expressing your analytical conclusions.

Your paper will be evaluated on the following:

• Depth and quality of analysis • Writing style

A penalty of 1/3 letter grade per week will be applied to late papers. That is, if your original grade would have been an “A,” but you turned the assignment in a week late, the grade becomes an “A-”; if the paper is two weeks late, the grade will be a “B”; etc.

LEARNING OUTCOMES: By the end of this course, the students will be able to: • Gain deeper understanding of Japan’s social environments in different periods after World War II • Analyze and articulate conclusions about various situations described in the films, including family, workplace, intimate relationships, and Japanese social and individual psychology • Gain practical experience in evaluating feature films as evidence • Rethink the boundaries between reality and representation, and re-conceptualize the boundaries between history and film. • Understand and differentiate the diverse forms of cinematic expression employed by major contemporary film directors of Japan

ATTENDANCE POLICY: Following the attendance policy of IES Tokyo, attendance to all class meetings is strictly required for the students. The three-hour format for classes makes missing a single class equivalent to missing a full week during a regular semester. Unexcused absences will there-fore result in significant grade penalties. The first unexcused absence will result in a penalty of one-third of a letter grade from your final grade; additional unexcused absences will result in a penalty of one of letter grade for each additional absence. That is, one missed class turns an A into an A-, two missed classes turns it into a B-, three turns it into a C-, and so on. An absence is considered “excused” only if it is unavoidable due to illness or other health conditions, or for other reasons approved by the instructor in advance.

CONTENT:

Week Content Assignments

Week 1: Japan in the Post-War Era • Donald Richie & Arturo Silva, “Ozu” in (the 1940s to 1960s) The Donald Richie Reader: 50 Years of (1953) Writing on Japan (2001), pp. 70-87 by Yasujiro Ozu • Andrew Gordon, Chapt. 13, “Occupied Japan,” in The Modern History of Japan: From Tokugawa Times to the Present, (2003), pp. 226-243. • Keiko McDonald, “Ozu's Tokyo Story: Simple Means for Complex Ends.” Journal of the Association of Teachers of Japanese 17.1 (1982) pp. 19-39. • Donald Richie, A Hundred Years of Japanese Film: A Concise History of Japanese Film (2012) pp. 46-63, 119-28.

Week 2: Japan in the Post-War Era • Igarashi Yoshikuni. "From the Anti- Cruel Story of (the 1960s) Security Treaty Movement to the Tokyo Youth (1960) Olympics: Transforming the Body, the by Nagisa Oshima Metropolis, and Memory." In Bodies of Memory: Narratives of War in Postwar Japanese Culture, 1945-1970, 131 - 63. • Patricia G. Steinhoff, “Student Protest in the 1960s” in Social Science Japan (1999) pp. 3-6 • Justin Jesty. "Tokyo 1960: Days of Rage & Grief." Massachusetts Institute of Technology, 1-50. • http://ocw.mit.edu/ans7870/21f/21f.0 27/tokyo_1960/anp2_essay01.html • Yoshimoto Mitsuhiro, “Questions of the new: Ōshima Nagisa's Cruel Story of Youth.” In Alastair Phillips and Julian Stringer, eds., Japanese Cinema: Texts and Contexts(London; New York: Routledge, 2007), pp. 168-179.Donald Richie, AHundred Years of Japanese

Film”: A Concise History of Japanese Film(2012)pp. 196-207. • William Marotti, “Political Aesthetic: Ac-tivism, Everyday Life, and Art’s Object in 1960s Japan” (2006) pp. 606- 618. • “Nagisa Oshima” Sense of Cine- mahttp://sensesofcinema.com/2004/gr eat-directors/oshima/

Week 3: In 1993, the Tokyo Metropolitan • Jordan Sand, “Introduction: Dwelling Government established the Course-related and the Space of Modern Japan,” in seven-hectare Edo-Tokyo Open- Excursion – air Architectural Museum as part House and Home in Modern Japan: Tokyo Tatemono of the Edo-Tokyo Museum. This Architecture, Domestic Space, and en (Koganei-city) museum aims to relocate, Bourgeois Culture, 1880-1930 (2003), reconstruct, preserve and exhibit pp. 1-19 historical buildings of great • cultural value that are impossible Jordan Sand, “Domesticating to preserve at their actual places Domesticity” in House and Home in as well as to inherit these Modern Japan: Architecture, Domestic valuable cultural heritages to Space, and Bourgeois Culture, 1880- future generations. 1930 (2003), pp. 21- 55

This huge open air museum, • Ann Waswo, “Housing Culture” (2009) often used as a location site for pp. 281-299. movies and TV dramas, exactly recreates the space and the atmosphere of how people lived and ran businesses in their daily lives from the late 19th to mid- 20th century. During this visit, students will learn about the transformation of Japanese life through the modern history and experience the lives of the as realistically as possible. This is particularly helpful to understanding and appreciating the work of film directors such as Ozu Yasujiro (one of the greatest masters of Japanese cinematography), who made the traditional Japanese household architectural structure a critical component of his artistic expressions.

Week 4: Contemporary Japan after the • Stephen Covell, “Religious Culture” The Funeral 1980s (2009)pp. 147-165. (1980) • Mark Schilling, “,” in Con- by Juzo Itami temporary Japanese Film, pp. 74-83 • Donald Richie, A Hundred Years of Japanese Film”: A Concise History of Japanese Film (2012) pp. 134-76. • Zvika Serper, “Eroticism in Itami's The Funeral and : Juxtaposition and Symbolism.” Cinema Journal 42.3 (2003), pp. 70-95. • Jane M. Bachnik, “Orchestrated Reci- procity: Belief Versus Practice in Japanese Funeral Ritual.” In Jan van Bremen and D.P. Martinez, eds., Ceremony and Ritual in Japan: Religious Practices in an Industrialized Society (London; New York: Routledge, 1995), pp. 108-145. • Robert J. Smith, “Wedding and Funeral Ritual: Analysing a Moving Target.” In Jan van Bremen and D.P. Martinez, eds., Ceremony and Ritual in Japan: Religious Practices in an Industrialized Society

Week 5: Contemporary Japan after the • David E. Kaplan & Alec Dubro, Chapt.6 1980s “Corruption, Japanese-style,” in Yakuza: (1987) Japan’s Criminal Underworld, pp. 144- by Juzo Itami Midterm will be handed out to 175 students. • David E. Kaplan & Alec Dubro, “The Keizai Yakuza” (1981) pp. 175-195 • David E. Kaplan & Alec Dubro,“Meth, Money and the Sex Trade” (1981)pp. 223-50. • Martin Fackler, “Career Women in Japan Find a Blocked Path” Aug. 6, 2007 • Eric Williams and Lawrence F. Glatz, “Cinema and the feminine threat: ‘The Lost Honor of Katharina Blum’and ‘ATaxing Woman.’” In William

Burgwikle, Glenn Man, and Valerie Wayne, eds., Significant Others: Gender and Culture in Film and Literature East and West (Honolulu: College of Languages, Linguistics, and Literature, University of Hawaii and the East-West Center, 1993) pp. 75-83.

Week 6: Contemporary Japan in the • Jeff Kingston, Chapt. 1 “The Lost Shall We Dance? 1990s Decade of the 1990s” in Japan’s Quiet (1996) Transformation: Social Change and Civil by Masayuki Suwo Mid-term Exam due Society in 21st Century Japan (2004), pp. 1-41 • Mark Shilling, “,” in Con- temporary Japanese Film, pp. 72-73. • Sugimoto Yoshio,“Gender Stratification and the Family System” (2010)pp. 156- 188. • Tokuhiro Yoko,“Perceptions and Expectation of Marriage in Japan” (2011)pp. 16-27. • Tokuhiro Yoko,“Gender Roles: the Roles of Wife and Mother”(2011)pp. 73-88. • Yuko Kawanishi, “The Japanese Family Today” (2009) pp. 61-97

Week 7: Contemporary Japan in the • Andrew Rankin, “Recent Trends in Hanabi (1998) 1990s Organized Crime in Japan: Yakuza vs the by Police, & Foreign Crime Gangs” The Asia-Pacific Journal: Japan Focus (http://www.japanfocus.org/-Andrew- Rankin/3692) • “Takeshi Kitano” Senses of Cinema 27 (2003) (http://sensesofcinema.com/2003/grea t-directors/Kitano/ ) • Sean Redmond, The Cinema of Takeshi Kitano: Flowering Blood(2013) • Christopher J. Ferguson, “Media Violence Effects and Violent Crime:

Good Science or Moral Panic?” in Christopher J. Ferguson, Violent Crime: Clinical and Social Implications (2010), pp. 37-56 • Darrell William Davis, “Therapy for Him and Her: Kitano Takeshi's Hana-Bi (1997).” In Alastair Phillips and Julian Stringer, eds., Japanese Cinema: Texts and Contexts (London; New York: Routledge, 2007) pp. 284-295. • Darrell William Davis, “Reigniting Japanese tradition with Hana-Bi.” Cinema Journal 40.4 (2001) pp. 55-80.

Week 8: Historical development of the • Donald Richie, A Hundred Years of Course-related cinema industry in Japan since Japanese Film”: A Concise History of Excursion - the 19th century Japanese Film (2012)pp. 17-45, 64-118, National Film 129-33, 177-95, 208-62. Center Museum The only national institution for • Alastair Phillips and Julian Stringer, (Kyobashi, Tokyo) the preservation and research “Introduction.” In Alastair Phillips and of films, built on the site of Julian Stringer, eds., Japanese Cinema: some of Japan’s earliest Texts and Contexts (London; New York: cinemas (used to be in the Meiji Routledge, 2007)pp.1-24. period), this museum includes a • Eric Cazdyn, “A Short History of permanent display of the Visuality in Modern Japan: Crisis, comprehensive history of Money, Perception [Japanese Japanese films and the Film].”Japan Fo-rum11.1 (1999) pp. 95- Japanese film industry from the 105. start in the 19th century, as well as special seasonal exhibitions on various themes.

The visit to this museum allows students to understand the history and transformation of the film industry in Japan, which will also deepen their understanding of the films studied in class. A special lecture by one of the curators of the museum (with interpretation by the instructor)

has been arranged, so that the students will have an opportunity to learn from an expert on what is going on in the Japanese film industry today.

Week 9: Cross-Cultural Encounters • Zhou Wu, “The Lived Experience of Lost in Translation Being a Foreigner,” Phenomenology + (2004) Pedagogy 9 (1991), pp. 267-275 by Sofia Coppola • Michiko Yamada, A Lucrative Double Standard on Pop Culture: Western Celebrities & Japanese TV Commercials (2010), pp. 1-40. • Chenhsiang Chiu, “Transnational Mobility: Reading Sofia Coppola's ‘Lost in Translation’ as a Tourist Romance.” Tamkang Review 37.3 (2007) pp. 35-60. • Frank P. Tomasulo, “Japan Through Others' Lenses: ‘’ (1959) and ‘Lost in Translation’ (2003).” Japan Studies Review 11 (2007) pp. 143-56. • Carolyn S. Stevens, “Touching the Audience: Music and Television Advertising in Japan.” Japanese Studies 31.1 (2011) pp. 37-51.

Week 10: Cross-Cultural Encounters • Beverley Anne Yamamoto, My Darling is a “International Marriage in Japan: An Foreigner (2010) Exploration of Intimacy, family, and by Kazuaki Ue Parenthood,” in Proceedings of the 18th Biennial Conference of the Asian Studies Association of Australia (2010), pp. 1-21. • Susan L. Kline, Brian Horton,and Shuangyue Zhang, “Communicating Love: Comparisons Between American and East Asian University Stu-dents.”

International Journal of Intercultural Relations32.3 (2008) pp. 200-214. • Nicola Piper, “Globalization, Gender and Migration: the Case of International Marriage in Japan.” In Joanne Cook, Jennifer Roberts, and Georgina Waylen, eds., Towards a Gendered Political Economy (New York: St. Martin's Press, 2000) pp.205-225. • “Foreigners in Japan: International Marriages, Illegal Immigrants and Japan’s Immigration Policy.” Facts and Details (http://factsanddetails.com/japan/cat1 8/sub119/item633.html ) • “Marriage in Japan: History, Love, Arranged marriages, International marriages” Facts and Details (http://factsanddetails.com/japan/cat1 8/sub117/item619.html )

Week 11: Contemporary Japan After 2000 • Mike Tikkanen, “Invisible Children Nobody Knows Around the World: Japan” (2004) Final Exam will be handed out (http://www.invisiblechildren.org/201/ by Hirokazu to students. 01/07/invisible-children-around-the- Koreeda world-japan/ ), pp. 1-11 • Roger Goodman, “Child Abuse in Japan: ‘Discovery’ and the Development of Policy(2002)pp. 131-155. • Kyung Lah, “Japan sees alarming rise in child abuse” CNN (http://www.cnn.com/2011/WORLD/as iapcf/02/14/japan.child.abuse/index.ht ml ) • Mieko Hashimoto, “Becoming Aware of Child Abuse.” Japan Quarterly 43.2 (1996) pp. 145-152. • Kenneth Alan Adams, “The Familial Origins of Japanese Child Abuse.” Journal of Psychohistory 33.2 (2005) pp. 157-96.

• Linda C. Erlich and Yoshiko Kishi, “The Filmmaker as Listener: a New Look at Koreeda Hirokazu.” Cinemaya: the Asian Film Quarterly61-62 (2003-2004) pp. 38-45.

Week 12: Contemporary Japan After 2000 • Yoshiko Tsuji, “Policies in Japan: the Departures (2009) State, the Family, and the Individual” by Yojiro Takita Final Exam due (2002) pp. 177-199. • Yamada Yoko & Kato Toshinobu, “Images of the Soul and the Circulatory Cosmology of Life,” Departmental Bulletin Paper, Kyoto Daigaku Daigakuin Kyōikugaku Kenkyūka (2001 3/31) pp. 1-27. • Mullins, Mark R. “From 'Departures' to 'Yasukuni Shrine:' Caring for the Dead and the Bereaved in Contemporary Japanese Society.” Japanese Religions 35.1-2 (2010) pp. 101-12.

REQUIRED READINGS: Adams, Kenneth Alan. “The Familial Origins of Japanese Child Abuse.” Journal of Psyocho-history 33.2 (2005) pp. 157-96.

Bachnik, Jane M. “Orchestrated Reciprocity: Belief Versus Practice in Japanese Funeral Ritual.” In Jan van Bremen and D.P. Martinez, eds., Ceremony and Ritual in Japan: Religious Practices in an Industrialized Society (London; New York: Routledge, 1995), pp. 108-145.

Chiu, Chen-hsiang. “Transnational Mobility: Reading Sofia Coppola's ‘Lost in Translation’ as a Tourist Romance.” Tamkang Review 37.3 (2007) pp. 35-60.

Covell, Stephen. “Religious Culture.” In Sugimoto Yoshio, ed.,The Cambridge Companion to Modern Japanese Culture. Cambridge: Cambridge University Press, 2009, pp. 147-165.

Davis, Darrell William. “Therapy for Him and Her: Kitano Takeshi's Hana-Bi (1997).” In Alastair Phillips and Julian Stringer, eds., Japanese Cinema: Texts and Contexts (London; New York: Routledge, 2007) pp. 284-295.

_____, “Reigniting Japanese tradition with Hana-Bi.” Cinema Journal 40.4 (2001) pp. 55-80.

Erlich, Linda C. and Yoshiko Kishi, “The Filmmaker as Listener: a New Look at Koreeda Hirokazu.” Cinemaya: the Asian Film Quarterly 61-62 (2003-2004) pp. 38-45Igarashi, Yoshikuni. "From the Anti-Security Treaty Movement to

the Tokyo Olympics: Transforming the Body, the Metropolis, and Memory." In Bodies of Memory: Narratives of War in Postwar Japanese Culture, 1945-1970, 131 - 63. Princeton: Princeton University Press, 2000.

Fackler, Martin. “Career Women in Japan Find a Blocked Path.” The New York Times Aug. 6, 2007.

Ferguson, Christopher J., “Media Violence Effects and Violent Crime: Good Science or Moral Panic?” in Christopher

J. Feguson, Violent Crime: Clinical and Social Implications (New York: Sage Publications, 2010), pp. 37-56

“Foreigners in Japan: International Marriages, Illegal Immigrants and Japan’s Immigration Policy.” Facts and Details http://factsanddetails.com/japan/cat18/sub119/item633.html

“Hollywood Films about Japan: Karate Kid, Memoirs of a , Letters from Iwo Jima” Facts and Details (http://factsanddetails.com/japan.php?itemid=717&catid=18), pp. 1-12

Goodman, Roger. “Child Abuse in Japan: ‘Discovery’ and the Development of Policy.” In Roger Goodman, ed., Family and Social Policyin Japan: Anthropological Approaches. Cam-bridge: Cambridge University Press, 2002, pp. 131-155.

Gordon, Andrew, Chapt. 13, “Occupied Japan,” in The Modern History of Japan: From Tokugawa Times to the Present, (New York & Oxford: Oxford University Press, 2003), pp. 226-243Hashimoto, Mieko. “Becoming Aware of Child Abuse.” Japan Quarterly 43.2 (1996) pp. 145-152.

“Japan’s Economic Miracle and the 1950s, 60s, and 70s Under Yoshida, Ikeda, Sato, and Tanaka,” Facts and Details, (http://factsanddetails.com/japan.php?itemid=524catid=16subcatid=110 ), 13 pages

Jesty, Justin. "Tokyo 1960: Days of Rage & Grief." Massachusetts Institute of Technology, 1-50. http://ocw.mit.edu/ans7870/21f/21f.027/tokyo_1960/anp2_essay01.html

Kaplan, David E. & Alec Dubro, “Corruption, Japanese-style,” in Yakuza: Japan’s Criminal Underworld (Berkeley: University of California Press, 1981), pp. 144-175

_____,“Meth, Money and the Sex Trade.” In Yakuza: Japan's Criminal Underworld. Berkeley: University of California Press, 1981, pp. 223-50.

_____, “The Keizai Yakuza,” in Yakuza: Japan’s Criminal Underworld (Berkeley: University of California Press, 1981), pp. 175-195

Kawanishi, Yuko, “The Japanese Family Today,” in Yuko Kawanishi, Mental Health Challenges Facing Contemporary Japanese Society: the Lonely People (Kent, UK: Global Oriental, 2009), pp. 61-97

Kingston, Jeff, “The Lost Decade of the 1990s” in Japan’s Quiet Transformation: Social Change and Civil Society in 21st Century Japan (London & New York: Routledge, 2004), pp. 1-41

Kline, Susan L. Brian Horton,and Shuangyue Zhang, “Communicating Love: Comparisons Between American and East Asian University Students.” International Journal of Intercultural Relations32.3 (2008) pp. 200-214.

Lah, Kyung, “Japan sees alarming rise in child abuse” CNN (http://www.cnn.com/2011/WORLD/asiapcf/02/14/japan.child.abuse/index.html)

“Marriage in Japan: History, Love, Arranged marriages, International marriages” Facts and Details http://factsanddetails.com/japan/cat18/sub117/item619.html pp. 1-12

Marotti, William. “Political Aesthetic: Activism, Everyday Life, and Art’s Object in 1960s Japan.” Inter-Asia Cultural Studies, Volume 7, Number 4, 2006, pp. 606-618.

McDonald Keiko. “Ozu's Tokyo Story: Simple Means for Complex Ends.” Journal of the Association of Teachers of Japanese 17.1 (1982) pp. 19-39.

Mark R. Mullins, “From 'Departures' to 'Yasukuni Shrine:' Caring for the Dead and the Bereaved in Contemporary Japanese Society.” Japanese Religions 35.1-2 (2010) pp. 101-12.

“Nagisa Oshima.” Sense of Cinema http://sensesofcinema.com/2004/great-directors/oshima/

Piper, Nicola. “Globalization, Gender and Migration: the Case of International Marriage in Japan.” In Joanne Cook, Jennifer Roberts, and Georgina Waylen, eds., Towards a Gendered Political Economy (New York: St. Martin's Press, 2000) pp.205-225.

Rankin, Andrew, “Recent Trends in Organized Crime in Japan: Yakuza vs the Police, & Foreign Crime Gangs” The Asia-Pacific Journal: Japan Focus (http://www.japanfocus.org/-Andrew-Rankin/3692 )

Redmond, Sean. The Cinema of Tekeshi Kitano: Flowering Blood. New York: Wallflower Press, 2013.

Richie, Donald. A Hundred Years of Japanese Film. Tokyo: Kodansha, 2012, pp. 17-262.

Richie, Donald & Arturo Silva, “Ozu” in The Donald Richie Reader: 50 Years of Writing on Japan (Berkeley, CA: Stone Bridge Press, 2001), pp. 70-87

“Right versus Left in Japan in the 1960s: ’s Suicide and Japanese Red Army," in Facts and Details, http://factsanddetails.com/japan.php?itemid=1761

Sand, Jordan, “Introduction: Dwelling and the Space of Modern Japan,” in House and Home in Modern Japan: Architecture, Domestic Space, and Bourgeois Culture, 1880-1930 (Cam-bridge, MA: Harvard University Asia Center, 2003), pp. 1-19

_____, “Domesticating Domesticity” in House and Home in Modern Japan: Architecture, Domestic Space, and Bourgeois Culture, 1880-1930 (Cambridge, MA: Harvard University Asia Center, 2003), pp. 21- 55

Schilling, Mark. “Juzo Itami.” In Contemporary Japanese Film (Boston & London: Weatherhill, 1999), pp. 74-83.

_____. “Masayuki Suo.” In Contemporary Japanese Film (Boston & London: Weatherhill, 1999), pp. 72-73.

Serper Zvika. “Eroticism in Itami's The Funeral and Tampopo: Juxtaposition and Symbolism.” Cinema Journal 42.3 (2003), pp. 70-95.

Smith, Robert J. “Wedding and Funeral Ritual: Analysing a Moving Target.” In Jan van Bremen and D.P. Martinez, eds., Ceremony and Ritual in Japan: Religious Practices in an Industrialized Society (London; New York: Routledge, 1995), pp. 25-37.

Steinhoff, Patricia G., “Student Protest in the 1960s,” in Social Science Japan 15, March 1999, pp. 3-6Stevens, Carolyn S. “Touching the Audience: Music and Television Advertising in Japan.” Japanese Studies 31.1 (2011) pp. 37-51.

Sugimoto Yoshio. “Gender Stratification and the Family System.” An Introduction to Japanese Society. Cambridge: Cambridge University Press, 2010, pp. 156-188.

“Takeshi Kitano” Senses of Cinema 27 (2003) (http://sensesofcinema.com/2003/great-directors/Kitano/ )

Tikkanen, Mike, “Invisible Children Around the World: Japan” (http://www.invisiblechildren.org/201/01/07/invisible-children-around-the-world-japan/ ), pp. 1-11

Tokuhiro Yoko. “Gender Roles: the Roles of Wife and Mother.” Marriage in Contemporary Japan. New York: Routledge, 2011, pp. 73-88.

_____. “Perceptions and Expectation of Marriage in Japan.” Marriage in Contemporary Japan. New York: Routledge, 2011, pp. 16-27.

Tomasulo, Frank P. “Japan Through Others' Lenses: ‘Hiroshima Mon Amour’ (1959) and ‘Lost in Translation’ (2003).” Japan Studies Review 11 (2007) pp. 143-56.

Tsuji, Yoshiko. “Policies in Japan: the State, the Family, and the Individual.” In Roger Goodman, ed., Family and Social Policy in Japan: Anthropological Approaches. Cambridge: Cambridge University Press, 2002, pp. 177-199.

Waswo, Ann. “Housing Culture.” In Sugimoto Yoshio, ed., The Cambridge Companion to Modern Japanese Culture. Cambridge: Cambridge University Press, 2009, pp. 281-299.

Williams, Eric and Lawrence F. Glatz, “Cinema and the feminine threat: ‘The Lost Honor of Katharina Blum’ and ‘A Taxing Woman.’” In William Burgwinkle, Glenn Man, and Valerie Wayne, eds., Significant Others: Gender and Culture in Film and Literature East and West (Honolulu: College of Languages, Linguistics, and Literature, University of Hawaii and the East-West Center, 1993) pp. 75-83.

Wu, Zhou, “The Lived Experience of Being a Foreigner,” Phenomenology + Pedagogy 9 (1991), pp. 267-275

Yamada, Michiko. A Lucrative Double Standard on Pop Culture: Western Celebrities & Japanese TV Commercials. VDM Verlag Dr. Müller (2010), pp. 1-40

Yamada Yoko & Kato Toshinobu, “Images of the Soul and the Circulatory Cosmology of Life,” Departmental Bulletin Paper, Kyoto Daigaku Daigakuin Kyōikugaku Kenkyūka (2001 3/31) (http://trove.nla.gov.au/work/24507346 ), pp. 1-27

Yamamoto, Beverley Anne, “International Marriage in Japan: An Exploration of Intimacy, family, and Parenthood,” in Proceedings of the 18th Biennial Conference of the Asian Studies Association of Australia (2010), pp. 1-21.

Yoshimoto Mitsuhiro, “Questions of the new: Ōshima Nagisa's Cruel Story of Youth.” In Alastair Phillips and Julian Stringer, eds., Japanese Cinema: Texts and Contexts (London; New York: Routledge, 2007), pp. 168-179.

RECOMMENDED READINGS: Akabane, Kiyotaka. Facts on Japan: a Brief Introduction to Japan for Foreign Visitors. Tokyo: Global Institute, 1989. Anderson, Joseph L. and Donald Richie. The Japanese Film: Art and Industry. Lawrenceville, N.J.: Princeton University Press, 1982.

Barrett, Gregory. Archetypes in Japanese Film: the Sociopolitical and Religious Significance of the Principal Heroes and Heroines. Selinsgrove, Pa.: Susquehanna UP; London: Associated University Presses, 1989.

Bock, Audie. Japanese Film Directors. Tokyo; New York: Kodansha International, 1985.

Bordwell, David. Ozu and the Poetics of Cinema. London: British Film Institute; Princeton, N.J.: Princeton UP, 1988.

Brannen, Noah S. Japanese Society. Tokyo: , Office for the Japanese Stud-ies Center, 1982.

Buehrer, Beverley Bare. Japanese Films: a Filmography and Commentary, 1921-1989. Jefferson, N.C.: McFarland, 1990.

Davies, Roger J. and Osamu Ikeno. The Japanese Mind: Understanding Contemporary Japanese Culture. Boston: Tuttle, 2011.

From Geisha to Samurai: the Multi-Dimensions of the Japanese Woman in Film. Honolulu: Honolulu Academy of Arts, 1988.

Fujimura-Fanselow, Kumiko, ed. Transforming Japan: How Feminism and Diversity are Making a Difference. New York: Feminist Press at the City University of New York, 2011.

Fujiwara, Mariko; Carvell, Kermit; Sano, Katsuyo, tr. Hitonami: Keeping Up with the Satos. Tokyo: Hakuhodo Institute of Life & Living, 1983.

Fukutake, Tadashi. Japanese Society Today. Tokyo: University of Tokyo Press, 1981.

Grilli, Peter. Japan in Film: a Comprehensive Annotated Catalogue of Documentary and Theatrical Films on Japan Available in the . New York: Japan Society, 1984.

Hendry, Joy. Understanding Japanese Society. London; New York: Routledge, 1989.

Iimura, Takahiko. Film and Video. New York: Anthology Film Archives, 1990.

Inouye, Jukichi. Home Life in Tokyo. London; Boston: KPI, 1985.

Itasaka, Gen. Gates to Japan: Its People and Society. Tokyo: AOTS, 1986.

Jeremy, Michael; Robinson, M.E. Ceremony and Symbolism in the Japanese Home. Honolulu: University of Hawaii Press; Manchester: Manchester University Press, 1988.

Katzenstein, Gary J. Funny Business: an Outsider's Year in Japan. New York: Soho, 1989.

Keith, Agnes Newton. Before the Blossoms Fall: Life and Death in Japan. Boston, Little Brown, 1975.

Keizai Kikakucho. The Japanese and Their Society: Health, Intellectual Activities, Leisure, Place of Work, and Community. Tokyo: Economic Planning Association, 1972.

McClain, Yoko Matsuoka. Japan and America: One Woman's View. Tokyo: Hokuseido, 1991.

Mouer, Ross E.; Sugimoto, Yoshio. Images of Japanese Society: a Study in the Social Construction of Reality. London; New York: Kegan Paul International, 1990.

Richie, Donald. Japanese Cinema: Film Style and National Character. Garden City, N.Y.: Doubleday, 1971.

_____. A Lateral View: Essays on Contemporary Japan. Tokyo: Japan Times, 1987.

Romberg, Alan D.; Yamamoto, Tadashi, eds. Same Bed, Different Dreams: America and Japan-Societies in Transition. New York: Council on Foreign Relations, 1990.

Rosenberger, Nancy R. Japanese Sense of Self. Publications of the Society for Psychological Anthropology. Cambridge: Cambridge University Press, 1994.

Shilling, Mark. Contemporary Japanese Film. Boston & London: Weatherhill, 1999.

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