Relevant bibliographies by topics / Japanese film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Japanese film'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Japanese film"

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O’Connell, Dylan. "Nagisa Ōshima’s Essayistic Exploration of Japan’s “Korean Problem”." Film Matters 13, no. 1 (March 1, 2022): 96–108. http://dx.doi.org/10.1386/fm_00207_1.

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Japanese New Wave filmmaker Nagisa Ōshima repeatedly tackled Japan’s cultural and systemic discrimination toward Koreans in his films. The “Korean problem” is a complex issue that stems from a storied history between the two countries. However, Ōshima was undaunted at the task of confronting his Japanese audience with challenges to their potential biases. Ōshima incorporated essay film techniques in his films Forgotten Soldiers (1963), Diary of Yunbogi (1965), Death by Hanging (1968), and Three Resurrected Drunkards (1968) to disrupt the illusion of film and encourage self-reflection among the audience.
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Vétu, Guillaume. "Animist influence and immutable corporeality: Repositioning the significance of Japanese cinematic zombies." East Asian Journal of Popular Culture 7, no. 1 (April 1, 2021): 115–34. http://dx.doi.org/10.1386/eapc_00042_1.

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In terms of zombie film output, Japan’s is perhaps the second largest in the world after the United States and above the United Kingdom. Yet only a relatively small number of these films have received academic attention. Having sourced and verified an exhaustive catalogue of over 160 feature-length Japanese zombie films produced between 1959 and 2018, and through recent field work in Japan, including personal interviews with local film, media and folklore scholars and professionals, this article constructs a clearer overview of this uncharted corpus. It presents some of the most predominant cultural specificities of Japanese zombie films and their compelling narrative and stylistic heterogeneity. Previous assertions confined these films to a ‘cult’ sub-genre, restricting the Japanese monsters they feature to mere western imports; however, this article demonstrates that Japanese cinematic zombies defy simple categorization and repeatedly challenge some of the key posits at the centre of zombie studies, especially regarding their defining characteristics. The Japanese folklore and literary tradition in particular provides a new lens through which these popular fictional ‘Others’ can be (re-)examined, uncovering new significance and offering new insights into both Japanese and western cultures.
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Xiao-ling, Wang, Liu Zhi-long, and Zamira Madina. "Machine Learning-Enabled Development of Model for Japanese Film Industry." Security and Communication Networks 2022 (June 6, 2022): 1–9. http://dx.doi.org/10.1155/2022/7637704.

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Not only are numerous components absorbed and modified in terms of movie subjects, but also various art forms like painting and music are researched and examined in the production of Japanese cinema, resulting in the development of film styles with national characteristics. The fundamental role of film industrialization is to increase production efficiency, reduce industry risks, create job opportunities, and provide related technologies and services for professional creative people, so that the creativity crystallization of all industry insiders can become an invisible creative power and tangible economic values in the economy and can circulate continuously within the overall film industry structure. On the basis of summering and analyzing of previous research works, this article expounded the research status and significance of Japanese film industry, elaborated the development background, current status, and future challenges of film industry model, introduced the creation and production of genre films in Japanese film industry, established the relationship between personalized creation and market trend of Japanese films, proposed the competition and cooperation model for the distribution of local and imported films, analyzed the market share of sequel and anime films in Japanese film industry, conducted the analysis of terminal construction changes and localized cinema lines operation, and discussed the exploration and management model of film screening bodies. The research results of this article provide a reference for further researches on the development model of Japanese film industry.
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Tosaka, Yuji. "The Discourse of Anti-Americanism and Hollywood Movies: Film Import Controls in Japan, 1937–1941." Journal of American-East Asian Relations 12, no. 1-2 (2003): 59–80. http://dx.doi.org/10.1163/187656103793645397.

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AbstractOCLC Online Computer Library Center In interwar Japan, urban middle-class audiences patronized Hollywood movies rather than domestic native films that should have appealed to them as native and culturally familiar. The rise of militant nationalism and cultural nativism fueled the growth of official movements that celebrated an indigenous Japanese essence and eschewed allegedly foreign, modern “contamination.” The alleged Americanizing influence of Hollywood cinema became an increasingly worrisome problem for Japanese officials beginning in the early 1930s. This article examines Japan's efforts to impose tighter restrictions on American films during the 1930s, culminating in a total ban on film imports following the onset of the Sino-Japanese War in 1937.
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Amit, Rea. "What Is Japanese Cinema?" positions: asia critique 27, no. 4 (November 1, 2019): 597–621. http://dx.doi.org/10.1215/10679847-7726903.

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Imamura Taihei (1911–86) is considered by many to be the first film theorist in Japan, and he is known chiefly for his two grand theories on documentary film and animation. Yet, at the same time, Imamura also developed a third, no less ambitious theory, that of “Cinema and Japanese Art,” in which he specified the national characteristics of Japanese cinema. This essay concentrates on this third and less studied thesis. Although the argument Imamura puts forth in the thesis is elusive, aspects in it enable an interpretation of Japanese cinema along lines of phenomenological critical theory. From this perspective, it appears that Imamura establishes a theorization of national cinema that is predicated not on film as a product, or ontological aspects of what films project, but rather on the phenomenology of the film-watching experience. In effect, the thesis thus defines Japanese cinema not as the total sum of films produced in Japan, or by Japanese filmmakers, but as a shared watching experience of films regardless of their country of origin. Measuring Imamura’s thesis against other theories of Japanese national cinema that were published around the same time, during World War II, the essay argues that his theorization is in fact flexible enough to withstand more recent critique leveled against the notion of national cinema, and even allows radical new ways of thinking about national cinema in the contemporary moment of a new media environment and increasing transnational cultural flows.
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Armendariz-Hernandez, Alejandra. "The Japanese Cinema Book – FUJIKI Hideaki & Alastair PHILLIPS (eds)." Artists, Aesthetics, and Artworks from, and in conversation with, Japan - Part 2, no. 9 (December 20, 2020): 95–101. http://dx.doi.org/10.32926/2020.9.r.arm.cinem.

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Japanese film studies is an academic discipline and research community focusing on the multifaceted aspects of Japanese cinema. Deeply interdisciplinary, it employs theories, critical approaches and methods from different fields such as film studies and cultural studies to understand Japanese films as works of art, cultural products and social practices. What makes a film “Japanese”, and even what is a film, are far from easy questions, particularly in the globalised, transnational and digitalised world in which we now live, but nevertheless are issues that define the disciple and its historiography. Yomota Inuhiko puts it simply in [...]
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Yatagai, Fumie. "War Memory and Mizoguchi’s Film." Tribhuvan University Journal 29, no. 1 (March 31, 2016): 41–46. http://dx.doi.org/10.3126/tuj.v29i1.25669.

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This paper focuses on the Japanese film director called Kenji Mizoguchi who worked not only the making films but gave the caricature impact to the Japanese society. He was touching with the Japanese philosophy and spirit before and after the World War II. He described the common life of the Japanese life, especially tracing on how the women were dis-treated because of the context of the machismo in the public and at home. Also, the women were prohibited to have good education. The Japanese women at that time had a harsh moment to find their identity. For instance, as I experienced the poverty and discriminations just to be a women, Mizoguchi’s film encouraged me and opened a door to the new life.
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de Vargas, Ferran. "Japan’s New Left and New Wave. An Ideology’s Perspective as an Alternative to That of National Cinema." Arts 8, no. 1 (December 20, 2018): 1. http://dx.doi.org/10.3390/arts8010001.

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Starting from the perspective that national cinema is not a neutral concept, but rather a film expression with ideological implications, in this article I will argue that what should be analysed in films is not what connects them to certain nations, but with certain ideologies. Rather than claiming the national nature of a film, it is more accurate to identify for instance elements of a national ideology underlying the film. It can be more enriching to analyse different film trends that are based on their connections with different ideologies, thus stressing their political nature, and then highlighting cultural or geographical features in order to determine the supposedly natural outline of national cinemas. From this point of view, I consider the Japanese New Wave cinema of the 1960s and early 1970s to be a reflection of Japan’s coetaneous New Left ideology. In order to illustrate this political reading of the Japanese New Wave, I focus on the analysis of a paradigmatic film: Eros + Massacre (Erosu purasu Gyakusatsu 1969), directed by Yoshida Kijū.
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Schneider, Michael A. "Mr. Moto: Improbable International Man of Mystery." Journal of American-East Asian Relations 22, no. 1 (April 10, 2015): 7–16. http://dx.doi.org/10.1163/18765610-02201002.

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Mr. Moto, a fictional Japanese detective, achieved mass popularity through a series of 1930s films starring Peter Lorre. Moto was the creation of successful writer John P. Marquand (1893–1960), whose novels depicted a Japanese international spy quite different from the genial Mr. Moto of film. Revisiting the original Mr. Moto novels illuminates a Japanese character who rationalized Japan’s 1930s continental expansionism in ways that might have been acceptable to many Americans. Although Marquand intended to present Mr. Moto as a “moderate” and reasonable Japanese agent and generally present East Asians in a positive light, it is difficult to see the novels as doing anything more than buttressing prevailing racial and ethnic stereotypes.
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Guth, Christine M. E. "From Book to Film." Journal of Japonisme 6, no. 1 (January 22, 2021): 1–26. http://dx.doi.org/10.1163/24054992-06010001.

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Abstract Mary McNeil Fenollosa’s 1906 novel The Dragon Painter and its 1919 filmic adaptation sit at the intersection of American literary, art, and film history. Simultaneously personal and political, each is a product of its time and place. Together, they tell a story about changing (and unchanging) attitudes that were constituents of the complex and often contradictory history of the reception of Japanese culture and people in the United States. The novel draws on stereotypes of Japan as a primitive country of innately artistic people that at the time of its publication had been made familiar through art and literature. The silent film, produced in Hollywood, by and co-starring Sessue Hayakawa and his wife Tsuru Aoki, expanded and complicated the modes of visualizing Japan by featuring a Japanese couple in starring roles. This article addresses the relationship between the novel, an allegory of Japanese cultural loss and renewal, and the film, a romance inflected with American concerns about race, drawing particular attention to gender and Japanism in their reception and interpretation.
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Dissertations / Theses on the topic "Japanese film"

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Pinar, Garcia Alex. "Western Literature in Japanese Film (1910-1938)." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/667250.

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Des del inicis del cinema s’han realitzat un innumerable nombre de pel·lícules basades en obres literàries. L'adaptació cinematogràfica es pot considerar un procés interpretatiu en què el cineasta crea un nou treball artístic mitjançant la transformació de l'estructura, el contingut, l'estètica i el discurs narratiu de l’obra literària. És freqüent veure pel·lícules en les que els directors han adaptat obres literàries del seu propi àmbit cultural, però és menys comú trobar exemples de directors que han creat pel·lícules basades en obres d'una esfera cultural i tradició literària diferent. Aquest és el cas d'alguns cineastes japonesos, com Kurosawa Akira, que va adaptar amb èxit obres destacades de la literatura universal. Moltes investigacions han centrat la seva atenció en les adaptacions realitzades per Kurosawa i altres directors japonesos en la dècada de 1950 i posteriors, un període en el qual el cinema japonès va rebre reconeixement a tot el món i va aconseguir presència internacional en prestigiosos festivals de cinema. No obstant això, hi ha hagut poca o gairebé cap atenció a la les adaptacions de literatura occidental produïdes al Japó durant els anys 1910, 1920 i 1930, al llarg de les anomenades èpoques Meiji, Taishō i Shōwa- preguerra. L'objectiu d'aquesta investigació és, per tant, explorar les relacions intertextuals entre aquestes pel·lícules i les obre literàries en la qual es van basar, i descriure les transformacions culturals en l'estructura, el contingut, l'estètica i el discurs narratiu realitzats en el procés d'adaptació. Així, la metodologia emprada segueix l'enfocament dialògic de Stam, tenint en compte altres propostes metodològiques recents, les quals suggereixen afegir aspectes històrics, culturals i contextuals a l'anàlisi de les adaptacions cinematogràfiques. Aquesta tesi té la intenció d’aportar una nova perspectiva als estudis de les relacions intertextuals entre cinema Japonès i la literatura universal mitjançant l’anàlisi de pel·lícules produïdes durant la primera meitat del segle XX que no han estat mai o han estat molt poc estudiades.
Since the beginning of cinema, innumerable films have been derived from classic or popular literature. Film adaptation of a literary work can be considered as an interpretative process in which the film director creates a new artistic work through several transformations in the structure, content, aesthetics, and narrative discourse. There are hundreds of films in which the directors have adapted literary works from their own cultural sphere, but there are fewer examples of directors who have made movies based on literary works from a different culture and literary tradition. That is the case for some Japanese film directors, such as Kurosawa Akira, who adapted foreign literature for the screen. Many scholars in the field of Film Studies have focused their attention on the adaptations made by Kurosawa and other Japanese directors in the 1950s and subsequent decades: a period during which Japanese cinema received acknowledgment worldwide and achieved an international presence in prestigious film festivals. However, there has been little or no attention to the adaptations of Western literature produced in Japan during the 1910s, 1920s, and 1930s, throughout the so-called Meiji, Taishō, and Shōwa pre-war eras. The objective of this research is therefore to explore the intertextual relations between those films and the Western works on which they were based, and to describe the cultural transformations in the structure, content, aesthetics, and narrative discourse carried out in the process of adaptation. The methodology employed follows Stam’s intertextual dialogic approach, and takes into account the most recent theoretical frameworks, which suggest adding historical, cultural, and contextual aspects into the analysis of film adaptations. This dissertation goes far beyond the scope of the previous investigations, as it examines Japanese movies based on Western literature produced during the first half of the twentieth century that have never or barely been studied.
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Richmond, Aimee. "Transnational UK reception of contemporary Japanese horror film." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/8006/.

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This thesis examines the understanding of the contemporary Japanese horror film genre in the UK, taking into account the effects that the specificities of the UK cross-cultural context have upon audiences’ meaning-making. Analysis mainly revolves around six films selected based upon frequency of mention by participants: Ring (Nakata, 1998), Audition (Miike, 1999), Ju-on: The Grudge (Shimizu, 2004), Dark Water¬ (Nakata, 2002), Battle Royale (Fukusaku, 2000) and Ichi the Killer (Miike, 2001). Four focus groups and twenty individual interviews were conducted with individuals aged between eighteen and thirty years of age, all of whom self-identified as British. Responses were analysed in order to provide insight into three key areas: how UK audiences define the genre of contemporary Japanese horror film, the frameworks and processes they use in their definitions, and the meanings that they find in culturally-specific elements within these films. Both the Japanese and UK reception landscapes of contemporary Japanese horror film are outlined in order to provide necessary context. Ultimately, the research unearths a variety of interpretations of the contemporary Japanese horror film genre, which are reflective of a range of audience readings due in part to different levels of inter-cultural competence and personal preference. The study finds new channels of reception to be central in influencing transnational audience reception. Home viewing cultures and shifts from the original viewing context are further linked to the way in which audiences create experiences around the films, the influence of which lasts well beyond the point of reception. Alongside this, genre definition and film placements within those genres are shown to be an important factor in film reception, particularly in terms of influencing audience value judgments. Acknowledging the fragmented nature of the audience, hypotheses as to the development of an audience-led approach to transnational genre are outlined.
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Yoshida, Junji. "Origins of Japanese film comedy and questions of colonial modernity /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192198571&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 281-290). Also available for download via the World Wide Web; free to University of Oregon users.
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Kimura, Keisuke. "Identity in the Shell: Hollywood Film Representations of Japanese Identity." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu152302397851392.

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Murphy, Kayleigh F. "(Un)dead Japan: A genre analysis of the Japanese zombie film." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89741/4/Kayleigh_Murphy_Thesis.pdf.

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This study is an in-depth examination of the stylistic and generic characteristics of the Japanese zombie film and its relations to Japanese horror cinema and the conventions and tropes of Western zombie movies more generally. Through generic analysis of key Japanese zombie films released over the last 15 years, this study establishes the sub-genre's ties to transnational production practices and cult cinema. The first monograph length study of this kind, this study provides insight into the growing sub-genre of Japanese zombie films while concurrently broadening current scholarship and understanding of the zombie film genre.
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Ward, Michael. "The Noose Among the Cherries: Landscape and the Representation of Resident Koreans in Japanese Film." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13641.

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Chapter one of this thesis contains a short introduction to pre-colonial and colonial Korean history and prewar and postwar Resident Korean history. Chapter two, after giving a brief description of Japanese victim consciousness and how it was spread throughout Japan through melodrama films, delves into the history of late 1950s and early 1960s films created by leftist humanist Japanese directors. These films depict diluted Resident Korean characters whose primary purpose is to reflect the positive qualities of the Japanese characters who appear in the films while more serious aspects of Resident Korean history remain absent. Chapter three of this thesis takes a close look at Matsuda Masao’s and Adachi Masao’s theory of landscape and uses it to show how marginalized individuals such as the non-Korean serial killer Nagayama Norio, the original subject for the theory of landscape, and the white-robed Resident Koreans in an early Ōshima Nagisa documentary film are controlled by Japanese political power that manifests itself in homogenous landscape that was an ubiquitous presence throughout late 1960s and early 1970s Japan. The fourth chapter of this thesis concerns itself with the diagram of the microphysics of power which is embedded within Japan’s homogeneous landscape and is responsible for both the creation and death of individuals like the previously mentioned Nagayama Norio and the Resident Korean Ri Chin’ U and his filmic representative R in Ōshima’s Death by Hanging.
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NAKAHAMA, YUKO. "Development of Referent Management in L2 Japanese : A Film Retelling Task." 名古屋大学大学院国際言語文化研究科, 2003. http://hdl.handle.net/2237/7872.

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Villot, Janine Marie. "Refiguring Indexicality: Remediation, Film, & Memory in Contemporary Japanese Visual Media." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4603.

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Through an analog between film and memory, I argue contemporary Japanese visual media constantly remediates this relationship in order to develop a more inclusive, plastic indexicality that allows media without direct material contiguity access to an indexicality not typically attributed to it. Amidst the early twenty-first century shift from old, mechanical media to new, electronic media, each Japanese text engages the West through intercultural discourses and intracultural responses, just as Japan has continually encountered the West since its forced opening by Commodore Perry in 1853. The plasticized indexicality figured by contemporary Japanese visual media implies the plastic nature of abstracted referents such as memory. I examine these issues through three texts, each representing three different contemporary Japanese visual media forms: the live-action film, After Life (Kore-eda Hirokazu, 1998), the anime film, Millennium Actress (Satoshi Kon, 2003), and the manga, Black Butler (Yana Toboso, 2006-ongoing). Each text remediates film and memory as analogs in ways particular to their own medium to refigure indexicality as inclusive of their own medium, revealing a cultural discourse wherein contemporary Japanese visual media engage with abstracted realities such as memory. By plasticizing and abstracting the index through its remediation of film and memory, contemporary Japanese visual media reveal visual media's, especially anime's and manga's, ability to relate to culture. Their refigured index is inclusive of all visual media, allowing each the opportunity to index subjective memory and experience. After Life introduces this possibility by privileging its memory-film recreations as a higher fidelity index to memory than documentary, though documentary's remediation informs this index. Both Millennium Actress and Black Butler extend After Life's inclusive possibilities to suggest that their painterly realities are not divorced from reality, but rather representative of its decentered reception as subjective experience and memory. As media technology extends human beings, through new media such as the internet, it also abstracts us from certain material interactions such as reading paperback books or speaking to friends rather than texting them. Contemporary Japanese visual media suggest that as old media make way for new media, we should readjust our preconceptions about media's relations to culture, for as our world becomes digitized, even animated, the painterly realities found in film, anime, and manga bear more relevance than ever to how we construct our worlds, inside Japan and across the world.
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Stey, George Andrew. "Elements of Realism in Japanese Animation." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250700496.

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Umphrey, Olivia. "From screen to page : Japanese film as a historical document, 1931-1959 /." [Boise, Idaho] : Boise State University, 2009. http://scholarworks.boisestate.edu/td/26/.

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Books on the topic "Japanese film"

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Japanese film directors. Tokyo: Kodansha International, 1985.

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Contemporary Japanese film. New York: Weatherhill, 1999.

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Weisser, Thomas. Japanese cinema: The essential handbook : featuring Japanese cult cinema since 1955. 5th ed. Miami, Fl: Vital Books, 2003.

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Japanese documentary film: The Meiji era through Hiroshima. Minneapolis: University of Minnesota Press, 2003.

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Aaron, Gerow, ed. Research guide to Japanese film studies. Ann Arbor: Center for Japanese Studies, The University of Michigan, 2009.

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Kurosawa: Film studies and Japanese cinema. Durham, NC: Duke University Press, 2000.

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Mihara, Weisser Yuko, ed. Japanese cinema: The essential handbook. 5th ed. Miami, Fla: Vital Books Inc., 2003.

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Weisser, Thomas. Japanese cinema: The essential handbook. 2nd ed. Miami, Fla., USA: Vital Groups, Inc., 1996.

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Reading a Japanese film: Cinema in context. Honolulu, HI: University of Hawaii Press, 2005.

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Reading a Japanese film: Cinema in context. Honolulu: University of Hawaii Press, 2006.

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Book chapters on the topic "Japanese film"

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Ryō, Namikawa. "Japanese Overseas Broadcasting." In Film & Radio Propaganda in World War II, 319–33. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003208457-15.

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Lee, Laura. "Modern Vitality: Pure Film and the Cinematic." In Japanese Cinema Between Frames, 17–50. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66373-9_2.

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Hedges, Inez. "Amnesiac Memory: Hiroshima in Japanese Film." In World Cinema and Cultural Memory, 31–49. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137465122_3.

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Coates, Jennifer. "Politicizing the audience? Film fans' experiences of cinema in the 1960s." In Japanese Visual Media, 180–200. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003154259-9-13.

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McRoy, Jay. "Recent Trends in Japanese Horror Cinema." In A Companion to the Horror Film, 406–22. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch23.

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Ridgely, Steven C. "Deinstitutionalizing Theater and Film." In Japanese Counterculture, 99–138. University of Minnesota Press, 2011. http://dx.doi.org/10.5749/minnesota/9780816667529.003.0004.

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"KADOKAWA FILM." In The End of Japanese Cinema, 96–121. Duke University Press, 2017. http://dx.doi.org/10.2307/j.ctv11hphpq.7.

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Miyao, Daisuke, and Ben Singer. "Triangulating Japanese Film Style." In The Oxford Handbook of Japanese Cinema. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199731664.013.020.

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"Three. KADOKAWA FILM." In The End of Japanese Cinema, 96–121. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822372462-005.

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"Brazilian Dekasegi Children in Japanese Film." In Japanese Brazilian Saudades, 212–38. University Press of Colorado, 2019. http://dx.doi.org/10.5876/9781607328506.c006.

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Conference papers on the topic "Japanese film"

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Ishibashi, Tatsuro, and Tadao Kawai. "Modelling of Oil Film Bearings." In The 2nd Japanese Modelica Conference Tokyo, Japan, May 17-18, 2018. Linköping University Electronic Press, 2019. http://dx.doi.org/10.3384/ecp18148115.

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Otsuka, Emiri, and Namgyu Kang. "Kansei Evaluation of Localized Film Posters." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001769.

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In recent years, Japanese animation films have been attracting attention overseas. For example, "Blade of the Demon" was released in 2020 and became a massive hit in 45 countries and regions worldwide. Film posters are one of the influential advertising media for the release of a film. film posters are essential advertising media to influence the film box office, as they comprehensively express the contents and appeal of the film story in a single image. However, depending on where the film is released, the poster is changed into a different layout from the home country version. For example, the film poster of "Big Hero6" in Japan appealed to an emotional story, but in some other countries, the poster appealed to an action hero film. In this way, film posters were localized depending on the country where the film was released. According to previous studies on film posters, the Japanese and Americans had different perspectives in grasping the film stories even though the film was the same, reflected in the film posters. In addition, in a previous study conducted by our research team on film posters of Studio Ghibli of Japan, subjects' impressions differed significantly from the original Japanese poster version and re-produced others. However, even though the Japanese and Korean versions are very similar layouts and designs, the participants' impressions about these two posters differed due to the influence of the textual information. Therefore, this study evaluated the impressions of film posters with mosaic processing on the language part to eliminate the influence of the language information on the posters. As a result of the SD method's experiment, there was a negative correlation between the "Familiarity feeling" and the "Unique feeling" of the film posters. However, there was a positive correlation between the "Dynamism feeling" and the "Familiarity feeling" of the posters. Moreover, participants' impression about the mosaiced textual information of the Japanese and Korean versions was almost the same. That means textual information in a poster influences participants' impressions significantly. These results in this study will help future film posters production.
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Fatimah, Emma, Santi Andayani, Gathisa Gunawan, and Aisyah Kancanadewi. "Social Representation of Japanese Character in Film Pacchigi (2005)." In Proceedings of the 1st International Conference on Language, Literature, Education and Culture, ICOLLEC 2021, 9-10 October 2021, Malang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.9-10-2021.2319661.

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Chen, Zheng, and Zhong Wang. "A Comparative Study of Chinese and Japanese Female Characters Portrayed in Hirokazu Koreeda’s and Ang Lee’s Family Films." In – The Asian Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2186-5906.2021.3.

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Konagai, Makoto. "Material and processing issues in the Japanese thin film Si solar cell program." In National center for photovoltaics (NCPV) 15th program review meeting. AIP, 1999. http://dx.doi.org/10.1063/1.57953.

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Wu, Bo, Wenjing Yao, and Jiawei Gao. "Shadow, Existence and Individuation Interpreting Japanese Film"The Low Life" from the Perspective of Analytical Psychology." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.165.

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Poleschuk, Victoria. "NOMINAL AND VERBAL PREFIXES OF POLITENESSIN THE SPEECH OF HEROES ANIMATED FILM HAYAO MIYAZAKI"千と千尋の神隠" ("SPIRITED AWAY")." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.28.

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Nominal and verbal prefixation in the system of politeness of the Japanese language plays an important role. This article is devoted to the analysis of the examples of politeness prefixes in the speech of the characters of the animated film of Hayao Miyazaki "千と千尋の神隠" ("Spirited Away").
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Zhang, Zhewei. "Indigenization Reform: Formation of the Theory of “National Form” in Chinese Film During the Anti-Japanese War." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.15.

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Sakuragi, Tomofumi, Hiromi Tanabe, Emiko Hirose, Akira Sakashita, and Tsutomu Nishimura. "Estimation of Carbon 14 Inventory in Hull and End-Piece Wastes From Japanese Commercial Reprocessing Operation." In ASME 2013 15th International Conference on Environmental Remediation and Radioactive Waste Management. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/icem2013-96110.

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Hull and end-piece wastes generated from reprocessing plant operations are expected to be disposed of in a deep underground repository as Group 2 TRU wastes under the Japanese classification system. The activated metals that compose the spent fuel assemblies such as Zircaloy claddings and stainless steel nozzles are mixed and compressed after fuel dissolution, and then stuffed into stainless steel canisters. Carbon 14 is a typical activated product in the hulls and end-pieces and is mainly generated by the 14N(n,p)14C reaction. In the previous safety assessment of the TRU waste in Japan, the radionuclides inventory was calculated by ORIGEN-2 code. Some conservative assumptions and preliminary estimates were used in this calculation. For example, total radionuclides generated from a single type of fuel assembly (45 GWd/tU for a PWR unit), and the thickness of the Zircaloy oxide film on the hulls (80 μm) were both overestimated. The second assumption in particular has a large effect on exposure dose evaluation. Therefore, it is essential to have a realistic source term evaluation regarding such items as the C-14 inventory and its distribution to waste parts. In the present study, a C-14 inventory of the hull and end-piece wastes from the operation of a commercial reprocessing plant in Japan corresponding to 32,000 tU (16,000 tU in each BWR and PWR) was calculated. Analysis using individual irradiation conditions and fuel characteristics was conducted on 6 types of fuel assemblies for BWRs and 12 types for PWRs (4 pile types × 3 burnup limits). The oxide film thickness data for each fuel type cladding were obtained from the published literature. Activation calculations were performed by using ORIGEN-2 code. For the amount of spent assembly and other waste characteristics, representative values were assumed based on the published literature. As a preliminary experiment, C-14 in irradiated BWR claddings was measured and found to be consistent with the calculated activation. The total C-14 inventory was estimated as 4.46×1014 Bq, consisting of 2.58×1014 Bq for BWRs and 1.87×1014 Bq for PWRs, and is consistent with the safety assessment of 4.4×1014 Bq. However, the distribution of the C-14 inventory to hull oxide, which was estimated under the assumption of instantaneous radionuclide release in the safety assessment, decreased from 5.72×1013 Bq (13% of the total) in the previous assessment to 1.30×1013 Bq (2.9% of the total; consisting of 1.48×1012 for BWRs and 1.15×1013 for PWRs). In other words, the exposure dose peak is reduced to approximate 25% of its previous value due to the use of detailed oxide film data that the BWR cladding has a thin oxide film. Other instantaneous release components for C-14 such as the fuel residual were negligible.
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Aleksić, Gabriela, Tomislav Cigula, and Katarina Itrić Ivanda. "Influence of multilayered films containing cellulose nanocrystals on the properties of japanese paper." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p50.

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Cultural heritage objects are precious witnesses of the past, so our mission is not only to preserve them for future generations, but also make them available or open to the public. Among most fragile historic materials are paper-based materials. They are susceptible to various forms of damage and deterioration, and their preservation presents a challenging task for conservators. In recent years, the use of advanced materials with unique properties has been growing at an increasing rate, even in the traditionally slow-changing cultural heritage sector. This study models how historic paper would be affected by application of multiple coating layers containing different quantities of cellulose nanocrystals (CNCs). In our study, a 4 % CNCs aqueous suspension was used to treat the samples. In order to form a uniform layer, bar-coating method was used, and in addition, a specific layer thickness was formed in both single and multiple passes. The prepared samples were analysed for their optical properties (colour coordinates, yellowness, opacity, gloss), physical properties (Taber stiffness, weight, thickness) and surface properties (roughness). An increase of wet film deposit thickness (single layer applications) resulted in an increase of paper thickness, grammage, gloss, opacity, yellowness, the ΔE value and Taber stiffness, while its average surface roughness decreased. Multi-layer applications have gradually decreased paper thickness, while Taber stiffness remained unchanged.
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Reports on the topic "Japanese film"

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Fukao, Kyoji, Keiko Ito, Hyeog Ug Kwon, and Miho Takizawa. Cross-Border Acquisitions and Target Firms' Performance: Evidence From Japanese Firm-Level Data. Cambridge, MA: National Bureau of Economic Research, August 2006. http://dx.doi.org/10.3386/w12422.

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Nagaoka, Sadao, Akira Takeishi, and Yoshihisa Noro. Determinants of Firm Boundaries: Empirical Analysis of the Japanese Auto Industry from 1984 to 2002. Cambridge, MA: National Bureau of Economic Research, April 2007. http://dx.doi.org/10.3386/w13063.

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Alviarez, Vanessa, Cheng Chen, Nitya Pandalai-Nayar, Liliana Varela, Kei-Mu Yi, and Hongyong Zhang. Multinationals and Structural Transformation. Inter-American Development Bank, February 2023. http://dx.doi.org/10.18235/0004726.

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We study the role of multinationals (MNCs) in facilitating firm-level and aggregate structural transformation. Using a stylized model of multinational production and trade, we show that an inward multinational liberalization in the manufacturing sector raises employment in host country firms, and decreases manufacturing employment, while also raising services employment, in the parent firms. We also show the conditions under which aggregate structural transformation occurs. We test the models firm-level predictions by using confidential microdata from Japan. We study the response of Japanese MNC parents and their affiliates in China to an exogenous change in China's openness to foreign direct investment (FDI). We find that in industries where inward FDI was encouraged, Japan MNCs' affiliates in China experienced increases in their employment. We also find that MNC parents in the encouraged industries experienced decreases in home country manufacturing employment and increases in home country services and R&D employment. Finally, using microdata for several advanced and middle-income countries, we decompose the change in overall manufacturing employment shares into MNC and non-MNC components. We find a significant role for MNCs across all countries, suggesting the mechanism we highlight is an important global driver of structural transformation.
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Braguinsky, Serguey, Atsushi Ohyama, Tetsuji Okazaki, and Chad Syverson. Product Innovation, Product Diversification, and Firm Growth: Evidence from Japan’s Early Industrialization. Cambridge, MA: National Bureau of Economic Research, January 2020. http://dx.doi.org/10.3386/w26665.

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Hayashi, Fumio, and Tohru Inoue. The Relation Between Firm Growth and Q with Multiple Capital Goods: Theory and Evidence from Panel Data on Japanese Firms. Cambridge, MA: National Bureau of Economic Research, April 1990. http://dx.doi.org/10.3386/w3326.

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Ito, Takatoshi, Satoshi Koibuchi, Kiyotaka Sato, and Junko Shimizu. Why has the yen failed to become a dominant invoicing currency in Asia? A firm-level analysis of Japanese Exporters' invoicing behavior. Cambridge, MA: National Bureau of Economic Research, July 2010. http://dx.doi.org/10.3386/w16231.

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Research Department - Planning & Economic Development - The Japanese Wartime Standard of Living and the Utilisation of Manpower - File 2 - January 1947. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_2006/17583.

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Research Department - Planning & Economic Development - The Effects of Strategic Bombing on Japan's War Economy - File 3 - December 1946. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_2006/17584.

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