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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.<br>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.<br>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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Dorman, Andrew. "Cosmetic Japaneseness : cultural erasure and cultural performance in Japanese film exports (2000-2010)." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6354.
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Since the introduction of film to Japan in the 1890s, Japanese cinema has been continually influenced by transnational processes of film production, distribution, promotion, and reception. This has led inevitably to questions about the inherent nationality of Japan's film culture, despite the fact that Japanese cinema has often been subjected to analyses of its fundamental ‘Japaneseness'. This study seeks to make an original contribution to the field of Japanese film studies by investigating the contradictory ways in which Japan has functioned as a global cinematic brand in the period 2000 to 2010, and how this is interrelated with modes of promotion and reception in the English-speaking markets of the UK and the USA. Through textual and empirical analyses of seven films from the selected period and the non-Japanese consumption of them, this thesis argues that contemporary film exports are culturally-decentred in regards to their industrial and, to some extent, aesthetic dimensions. This results from contradictory modes of ‘cultural erasure' and ‘cultural performance' in the production of certain films, whereby aesthetic traces of cultural specificity are concealed or emphasised in relation to external commercial interests. Despite strategies of cultural erasure, explicit cinematic representations of cultural specificity remain highly valued as export commodities. Moreover, in the case of contemporary Japanese film exports, there are significant issues of ‘cultural ownership' to be accounted for given the extent to which non-national industrial consortia (film producers, financers, DVD distributors, film festivals) have invested in the promotion and in some cases the production of Japanese films. Thus, both in relation to the aesthetic erasure of Japaneseness and their non-Japanese commercial identities, recent film exports can be viewed as non-national cultural products that have a commercial and cinematic identity connected to external influences as much as internal ones.
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Gibb, Adrienne. "Poetics of distraction : Ozaki Midori's writings on film." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81492.
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The cinematic experience in Taisho Japan was a defining part of a spectrum of modernity's experiences associated with daily urban life. This paper argues that rather than theorizing film in rational terms common to "serious" film criticism focussing on aspects of production, Ozaki Midori envisioned the cinematic experience from the standpoint of an enthralled spectator, in terms of a sensual, bodily interaction with the cinematic image. Given the over-determined relationship of women to mass culture, one that is wrought with contradictions, Ozaki's writings on film open up the question of gender as it relates to spectatorship and the development of subjectivity within mass culture. Ozaki writes from a perspective within the cinematic experience in which the boundaries between spectator and image collapse. Ozaki offers a new mode of thinking and writing, a poetics of distraction to articulate and comprehend the modern experience.
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Bevan, Jake. "Trauma, modernity and hauntings : the legacy of Japanese colonialism in contemporary South Korean cinema." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33195.
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In recent years, South Korean filmmakers have repeatedly drawn upon the nation’s experience of Japanese colonialism as an element in the construction of their films. This thesis examines the multiple ways in which contemporary South Korean cinema has drawn upon this period in the nation’s history, through both direct representation, and allegory and evocation. I demonstrate how new perspectives have emerged, creating a space to construct more nuanced considerations of the colonial period beyond nationalist paradigms, whilst not shying away from the traumatic elements which had heretofore defined the dominant perceptions of the era. Utilising trauma theory as a key framework, I argue that by restaging the traumatic events of the past on-screen, filmmakers have provided an opportunity for audiences to come to terms with this past. Turning towards the Korean concept of han, which addresses the accumulation of negative affect and how these negative emotions can be purged through the expression of han, I explore how the folk song Arirang has been mobilised as a way of connecting a film to this legacy of sorrow. By invoking the feeling of han in their work, South Korean filmmakers have tied their personal concerns to a wider national sentiment. I then draw upon the notion of spectrality, and the depiction of ghosts in contemporary films, in order to demonstrate the ways in which the present is haunted by the unaddressed actions of the past. Finally, I argue that a series of films featuring amnesiac protagonists serve to allegorise the ‘settling the past’ movement, which saw the establishment of a number of ‘truth councils’ tasked with investigating aspects of the nation’s twentieth century history. Ultimately, this thesis argues that it is only by addressing and coming to terms with the traumatic elements of our past that we can ever hope to be rid of their negative influence.
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Jacoby, Alexander. "The old capital on film : the representation of Kyoto in Japanese cinema, 1945-1964." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/55848/.
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Coates, Jennifer. "National crisis and the female image : expressions of trauma in Japanese film, 1945-64." Thesis, SOAS, University of London, 2014. http://eprints.soas.ac.uk/20301/.
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Inspired by recurring themes in the representation of the female body during the early postwar period of Japanese film production, this thesis investigates the affective impact of the female image during national crisis. Following scholars such as Miriam Hansen, Isolde Standish and Mitsuyo Wada-Marciano, who posit film as a reflexive medium which expresses and mediates popular anxieties, I suggest that the popularity of certain reoccurring female images on film can be understood in terms of their expressive and cathartic affect during the Allied occupation of Japan (1945-1952) and its aftermath. My art-historically informed iconographic analysis of popular film texts is contextualised by contemporary criticism and viewer responses published in major commercial film journals of the period, with reference to Japan's socio-political climate during the first decades of the postwar era. This study addresses the affect of film on the viewer as a means to understand the popularity of repetitive imagery. I suggest that recurrent trends within the presentation of the female image are coded to reflect viewer concerns and allay popular fears. In focusing on reoccurring themes in the female image on film, I engage with extant scholarship which identifies popular tropes in the representation of women in Japanese cinema, but which has yet to fully interrogate their impact or the reasons for their popularity, which engenders their repetition. The interdisciplinary approach of this thesis contributes to methodological questions within film studies as a discipline, while my use of affect theory is a new theoretical approach to postwar Japanese film. Analysis of the impact of affective imagery addresses concerns expressed in scholarship and in popular media throughout the twentieth century and into the twenty-first as to the impact of film imagery on the viewer.
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Takizawa, Hiromi. "The Yagyu Plot : a translation with critical/contextual introduction and commentary." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364429.
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Parrish, Jordan G. "The Undead Subject of Lost Decade Japanese Horror Cinema." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1502193416130062.
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Wiesinger, Justine Kirby. "Performing Disaster| The Response to 3.11 and the Great Kanto Earthquake in Japanese Film and Theater." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957346.
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<p> The Great East Japan Earthquake of March 2011, known colloquially by the shorthand "3.11," claimed at least 16,000 lives and caused extreme damage to landscape and property, also triggering one of the most serious nuclear crises in history. These events were of great social, economic, cultural, and political consequence and are therefore in need of study from multiple perspectives. Sociologist Jeffrey C. Alexander, as a leading theorist of the model of cultural trauma, sees the work of "trauma drama" as crucial to the collective creation and negotiation of claims toward large-scale trauma. My dissertation seeks to investigate Alexander's insight more thoroughly. This dissertation seeks not only to broaden the field of view of collective trauma studies with a new case study, but to deepen the understanding of how performance functions as a part of the collective trauma creation process. To that end, this dissertation has a topical organization that analyzes space, time, and the body as nodes of intersection between post-3.11 anxiety sites and aspects of stage and film performance. Closely reading film and stage plays while examining the specific formal mechanisms by which they manipulate space, time, and the body in the aftermath of disaster, I argue that stage and film performances are especially powerful means through which to stake and (re)negotiate claims regarding trauma, particularly in response to the specifics of the 3.11 disaster. Inspired by the socially contextualized approach to performance studies pioneered by Richard Schechner and Victor Turner, this dissertation accesses a wide array of cultural and theoretical sources, including the spatial theory of Henri Lefebvre, the temporal Deleuzian scholarship of D.N. Rodowick, and Erin Manning's theory on the political impact of touch, alongside trauma theory and a multiplicity of readings on the significance of 3.11.</p><p>
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Wong, Lam Cheng. "Development of Japanese influence on Hong Kong film industry through Hong Kong newspaper, 1950-1979." Thesis, University of Macau, 2015. http://umaclib3.umac.mo/record=b3335318.
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Vaughn, Benjamin. "Competing Narratives in Contemporary Japanese War Cinema : Comparing representations of World War II and the military in four recent films." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74968.
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In Japan, the question of how to best remember the events of World War II is often a politically sensitive issue. Japan has occasionally been accused of glossing over its history of war crimes and acts of aggression in textbooks, official statements and other areas. This essay looks at representations of World War II and the military in contemporary Japanese war films, and discuss how they deal with these necessarily political subjects. I use Akiko Hashimoto's categorization of Japanese war narratives - the hero, victim and perpetrator-narratives - to analyze and compare four movies released during the last five years. These movies are The Eternal Zero, The Wind Rises, Kancolle the Movie and The Emperor in August. I look at these films in the context of Japanese film history and current political debates around the role of the Japanese Self-Defense Forces and similar issues. Rather than any clear march towards nationalism, pro-militarism or any other political ideology, these films indicate that directors often avoid politically sensitive issues or taking explicit moral stances. There is often a lack of historical context to events portrayed. The dominant interpretation of history is the victim-narrative in Hashimoto's sense, while perpetrator-narratives are usually absent and hero-narratives are mostly visible in films that are heavily fantasy-based and removed from reality.
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Gillett, Jonathan. "Television and Transculturation: An Examination of Japanese Anime in Post-Dictatorial Argentina." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555429612160638.
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Ulfsdotter, Boel. "An Invitation to Travel The Marketing and Reception of Japanese Film in the West 1950-1975." Thesis, University of Reading, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486339.
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An Invitation to Travel- The Image of Japanese Film in the West 1950-1975 is a reception study which presents the events and efforts that characterize the reception of Japanese film in France, Great Britain and the United States, after World War Two. Chapter One presents the research questions informing this study and discusses the historically located Western cultural concepts involved such as the aesthetics of art 1 cinema, Japonisme, and the notion of'Japaneseness'. The argumentation as such is based on the presumption of a still prevailing Orientalist discourse at the time. The thesis discusses the Japanese film industry's need to devise a new strategy of doing export business with the West in relation to the changed postwar context in Chapter Two. The preparations on the part of the Japanese to distribute their films in the West through different modes of transnational publicity are in focus here, from introductory 'film weeks', to marketing vehicles such as UnUapan Film Quarterly, and the first Western books on Japanese film history. The thesis then proceeds to deal with the groundbreaking introduction of this first non-occidental national cinema from four different angles; exhibition (Chapter Three), critical reception (Chapter Four), publicity (Chapter Five) and canon formation (Chapter Six). Chapter Three looks into the history ofWestern exhibition ofJapanese film in the countries involved in this study and identifies divergent attitudes between institutional and commercial screenings. It also locates possible changes in exhibition policy over time. Chapter Four establishes the main players in the critical reception ofJapanese cinema in the West and examines national divergences in attitude towards this 'new' national cinema. In order to do so, it necessarily discusses the development of Western auteurism in the late 1950s, and its effect on the film periodicals in the countries involved. Chapter Five presents an alternative venue of research through the image of Japanese cinema induced by Western poster design. It explores Western responses based on concepts involving Japonisme and national stereotypes in both commercial (capitalistic) and non-commercial (communist) aesthetic contexts. Chapter Six explores the history of canon formation and the evaluation of Japanese film in the West. The thesis argues that the extant Western canon on Japanese film is inconclusive and that it could be exchanged, in part, for at least three other versions of the same national cinema, enough to make the current image of Western postwar Japanese film history seem utterly unsatisfactory. . The conclusion in Chapter Seven presents the outcome of the effects of exhibition, critical reception and publicity, as well as the trajectory of canon formation in the previous chapters. By looking back again at its components, this study indicates several areas that warrant further research in order to extend the existing Western conceptualization ofJapanese film history.
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Kim, Se Young. "Crisis in neoliberal Asia: violence in contemporary Korean and Japanese cinema." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3116.
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This dissertation performs close readings of a body of well-known East Asian films. The Japanese films discussed include Kitano Takeshi's Hana-bi (1997) and Fukasaku Kinji's Battle Royale (2000). From Korea, the dissertation focuses on Peppermint Candy (1999, Lee Chang-dong), The Coast Guard (2002, Kim Ki-duk), The Chaser (2008, Na Hong-jin), and four films by Park Chan-wook: Joint Security Area (1999), Sympathy for Mr. Vengeance (2002), Oldboy (2003), and Lady Vengeance (2005). Through an analysis of these films, this dissertation argues that the narrative cinema of South Korea and Japan, produced between 1997 and 2008, uses the representation of violence to foreground and critique the ideology of capitalism.
Both South Korea and Japan see substantial economic growth, collapse, and rebuilding in the twentieth century. From 1986 to 1991, Japan experienced an asset price bubble, but its collapse in 1991 led to the period known as Japan's “Lost Decade” which marked the end of the nation's post-war economic miracle. A comparable trajectory occurs in South Korea. Following significant development in the 80s and 90s, the Asian Financial Crisis brings South Korea to a halt in 1997. In what came to be locally known as the “IMF Crisis,” South Korea had to rely on a $21 billion bailout loan from the International Monetary Fund. Just as Japan's economic collapse almost immediately preceded Korea's, both countries attempt to work through the trauma of the Lost Decade and the IMF Crisis in their national cinemas.
Mirroring what audiences in East Asia were experiencing, the characters in these films endure instances of violent displacement. In response to their disenfranchisement, the protagonists of films such as Hana-bi and Sympathy for Mr. Vengeance brutally lash out. But unlike in the majority of narrative cinema, the characters' violent actions do not lead to resolution. Instead, violence only creates a recursive loop where systemic inequity persists. As a result, the brutal cinema of Korea and Japan pushes the representation of violence to its limit point and reveals the tacit goal-oriented logic where it is repeatedly used as a justified means to legitimate ends. By illustrating and problematizing this idea, these films uncover how this ideology of violence is a central tenet to the larger structure that actually produced the source of alienation: neoliberal capitalism.
This dissertation thus demonstrates two points. First is the way in which economic trauma in Japan resonates in Korea, a process that carries over into their respective cinemas. Second is how these films assert that the representation of violence does not merely concern issues of film and media, but rather shares a deeper connection with the dominant ideology within globalization. As the films demonstrate, capitalism ultimately benefits the capitalist, a dynamic that can only occur at the expense of the laborer. These films thus articulate the inherent violence in this worldview that disregards the wellbeing of the Other. At the same time, the films also contend that it is that single-minded impetus towards profit that fueled the economic collapse, an almost inevitable result of the region's furious adaptation of industrial capitalism in a process referred to as ‘compressed modernity.’ Less interested in the enormous prosperity resulting from modernization in the region, the films confront and lament the often neglected but equally exorbitant costs. The violent cinema of South Korea and Japan thus insists that the financial crises of the late twentieth century, the persistence of economic inequality, the cinematic representation of violence, as well as the growth of its own industries, constitute a knot that can only be understood in its totality.
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Terry, Patrick Alan 1984. "Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11477.
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viii, 111 p. : ill. (some col.)<br>During the early stage of Japan's High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave's central position through the career of Daiei Studios' director, Masumura Yasuzo. Masumura signifies a "space in-between" the cultural elite represented by the New Wave and the box office focus of mass culture cinema. Utilizing available English language and rare Japanese sources, this thesis will re-examine Masumura's position on the periphery of film studies while highlighting the larger film environment of this dynamic period.<br>Committee in charge: Prof. Steven Brown, Chair;
Dr. Daisuke Miyao, Advisor
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藤木, 秀朗, and Hideaki FUJIKI. "American Film Star Unsettling Japanese Culture: A Cross-Cultural Analysis of Clara Bow’s Image in 1920s Japan." School of Letters, Nagoya University, 2005. http://hdl.handle.net/2237/9083.
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Lan, Kuo-Wei. "Technofetishism of posthuman bodies : representations of cyborgs, ghosts, and monsters in contemporary Japanese science fiction film and animation." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40524/.
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The thesis uses a feminist approach to explore the representation of the cyborg in Japanese film and animation in relation to gender, the body, and national identity. Whereas the figure of the cyborg is predominantly pervasive in cinematic science fiction, the Japanese popular imagination of cyborgs not only crosses cinematic genre boundaries between monster, disaster, horror, science fiction, and fantasy but also crosses over to the medium of animation. In regard to the academic research on Japanese cinema and animation, there is a serious gap in articulating concepts such as live-action film, animation, gender, and the cyborg. This thesis, therefore, intends to fill the gap by investigating the gendered cyborg through a feminist lens to understand the interplay between gender, the body and the cyborg within historical-social contexts. Consequently, the questions proposed below are the starting point to reassess the relationship between Japanese cinema, animation, and the cyborg. How has Japanese popular culture been obsessed with the figure of the cyborg? What is the relationship between Japanese live-action film and Japanese animation in terms of the popular imagination of the cyborg? In particular, how might we discuss the representation of the cyborg in relation to the concept of national identity and the associated ideology of “Japaneseness”, within the framework of Donna Haraway's influential cyborg theory and feminist theory? The questions are addressed in the four sections of the thesis to explore the representation of the gendered cyborg. First, I outline the concept of the cyborg as it has been developed in relation to notions of gender and the ‘cyborg' in Western theory. Secondly, I explore the issues in theorising the science fiction genre in Japanese cinema and animation and then address the problem of defining science fiction in relation to the phenomenon of the cyborg's genre-crossing. Finally, I provide a contextualising discussion of gender politics and gender roles in Japan in order to justify my use of Western feminist theory as well as discuss the strengths and limitations of such an approach before moving, in the remainder of the thesis, to an examination of a number of case studies drawn from Japanese cinema and animation.
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Ikäheimo, J. (Janina). "Motoko Kusanagi: the Japanese superwoman:a comparative film analysis of Rupert Sanders’ and Mamoru Oshii’s Ghost in the Shell." Bachelor's thesis, University of Oulu, 2019. http://jultika.oulu.fi/Record/nbnfioulu-201902061158.
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Abstract. This paper studies the two different versions of the film Ghost in the Shell by Mamoru Oshii and Masamune Shirow. In recent years, Hollywood has produced numerous remakes of originally Japanese cult classics. Often, even though the original film and the characters are Japanese, the setting is changed to America and the characters are acted by Americans. The location of Ghost in the Shell remains in Japan, but the main cast consists of Caucasian actors and actresses. In the year 1995 it was a significant film due to its strong female lead. The films are studied through Orientalism and Occidentalism. The aim is to explore whether these stereotypes of the East and the West affect the main character and her role as an Asian woman when the actress’s ethnic background is changed. The original film, which was released in 1995, was watched with Japanese audio and English subtitles, and the 2017 remake with English audio. This study will refer to studies about the history of anime, and ethnicity and gender in anime. Sources that study women’s role in the Japanese society will also be used.
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Howard, Christopher. "From the reverse-course policy to high-growth: japanese international film trade in the context of the Cold War." Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540697.
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The aim of this thesis is to reappraise the effects of the Cold War on Japanese cinema from the immediate postwar period until the start of Japan's economic boom in the 1960s. Studies of Japanese films from this period have typically analysed the 'textual' effects of the Cold War realignment with America, patiicularly in regard to Japanese cinema's assimilation of 'humanist' values during the Occupation period. Whilst an attention to 'representational politics' remains important, my argument is that in the context of the Cold War, an analysis of the discourses and practices peliaining to 'film trade' is an equally essential framework with which to examine how co-productions, international film distribution and the Japanese film quota and remission system were all framed by power relations between Japan and America. On the one hand, despite the rhetoric of Cold War friendship offered by the MP AAlMPEA (Motion Picture Association of America/Motion Picture Export Association) it was evident that the Hollywood majors were able to exploit the relation to Japan for their own ends. This was apparent both in their handling of Japanese films overseas and in the increasing success of Hollywood films imported into Japan. Rather than this simply being an issue for the commercial sector, however, the inequality ofthis trade relationship also raises critical questions about government attitudes to film. Here the ferocity with which the MP AA attempted to circumvent Japan's film quota and remission system, often adopting threatening tactics, may seem surprising in the context of America's wider trade policies with Japan. Here Japan received 'free trade' access to American markets whilst Washington still permitted Tokyo to maintain many of its trade barriers as a means to secure Japan's Cold War allegiance. The different attitude towards' film trade is particulat)y revealing given the support for the MP AA offered by. Washington, most notably in connection with chairman Eric Johnston's argument that Hollywood cinema was an important form of what today would be called American 'soft power
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Zhang, Xiyue. "Adaptation of First-Person Narrative Literature: Revisiting Kazoku gēmu (1981) and The Family Game (1983)." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1566201526952622.
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Lackney, Lisa M. "From Nostalgia to Cruelty: Changing Stories of Love, Violence, and Masculinity in Postwar Japanese Samurai Films." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279473191.
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Tosaka, Yuji. "Hollywood goes to Tokyo American cultural expansion and imperial Japan, 1918-1941 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060967792.
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Thesis (Ph. D.)--Ohio State University, 2003.<br>Document formatted into pages; contains ix, 416 p. Includes bibliographical references (p. 394-416). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Aug. 15.
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Taylor, Cory Jane. "What happens next? " Telling " the Japanese in contemporary Australian screen stories." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16253/.
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This study investigates the challenges facing screenwriters in Australia who set out to represent the Japanese on screen. The study is presented in two parts; an exegesis and a creative practice component consisting of two full length feature film screenplays. The exegesis explores how certain screenwriting conventions have constrained recent screen images of the Japanese within the bounds of the cliched and stereotypical, and argues for a greater resistance to these conventions in the future. The two screenplays experiment with new ways of representing the Japanese in mainstream Australian film and aim to expand the repertoire of Asian images in the national film culture.
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Taylor, Cory Jane. "What happens next? " Telling " the Japanese in contemporary Australian screen stories." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16253/1/Cory_Taylor_Thesis.pdf.
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This study investigates the challenges facing screenwriters in Australia who set out to represent the Japanese on screen. The study is presented in two parts; an exegesis and a creative practice component consisting of two full length feature film screenplays. The exegesis explores how certain screenwriting conventions have constrained recent screen images of the Japanese within the bounds of the cliched and stereotypical, and argues for a greater resistance to these conventions in the future. The two screenplays experiment with new ways of representing the Japanese in mainstream Australian film and aim to expand the repertoire of Asian images in the national film culture.
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Durkin, Daniel J. III. "Godzilla and the Cold War: Japanese Memory, Fear, and Anxiety in Toho Studio's Godzilla Franchise, 1954-2016." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu161730867674358.
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Fedorova, Anastasia. "Japan's Quest for Cinematic Realism from the Perspective of Cultural Dialogue between Japan and Soviet Russia, 1925-1955." Kyoto University, 2014. http://hdl.handle.net/2433/188789.
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Kyoto University (京都大学)<br>0048<br>新制・課程博士<br>博士(人間・環境学)<br>甲第18351号<br>人博第664号<br>新制||人||160(附属図書館)<br>25||人博||664(吉田南総合図書館)<br>31209<br>京都大学大学院人間・環境学研究科共生人間学専攻<br>(主査)教授 加藤 幹郎, 教授 服部 文昭, 教授 松田 英男<br>学位規則第4条第1項該当
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Stone, Daisy. "Le Traumatisme Dans Hiroshima, Mon Amour: Une Analyse Des Souvenirs." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1390.
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In this thesis, the different aspects of trauma are discussed at length while looking at the French New Wave Film directed by Alain Resnais, Hiroshima, Mon Amour. Through this film, I discuss how language shapes testimonies of traumatic events and if this shaping of language can possibly be seen in the film itself. Furthermore, I discuss if there is merit to looking at a work of art as an accurate depiction of historical trauma.
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Helander, Sandra. "Do Women Shine at Work? : Gender Roles in Japan’s Bestseller Films 1998-2018." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-175678.
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Denna avhandling undersöker könsrollerna på arbetsplatsen i de utvalda japanska bästsäljande filmerna som producerades under de senaste tre decennierna, vilket upplevde införandet av politiska åtgärder som avser att förbättra jämställdheten på arbetsplatsen. Studien hävdar att trots de samhälleliga och politiska förändringarna i Japan under de senaste trettio åren har bästsäljande filmer behållit traditionella könsrollsskildringar. Förklaringen kan vara att det är mycket lättare att ändra regler och lagstiftningar än uppfattningen om könsroller, som länge har existerat i samhället.<br>This thesis examines the gender roles in the workplace featured in the selected Japanese bestseller films produced in the last three decades, which saw the introduction of policies aimed at improving gender equality in the workplace. The study argues that despite societal and political changes in Japan in the last thirty years bestseller films have perpetuated traditional portrayal of gender roles. The explanation could be that it is much easier to change rules and legislations, than the perception on gender roles, which have existed in the society for a long time.
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Aponte, Elena M. "Either 'Shining White or Blackest Black': Grey Morality of the Colonized Subject in Postwar Japanese Cinema and Contemporary Manga." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491495352122861.
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Mahmoudian, Eléonore. "Etude de l'adaptation cinématographique des textes de Hayashi Fumiko par Naruse Mikio." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF006.
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Au début des années 1950, le cinéma japonais achève de se remettre des restrictions d'abord imposées par le régime militariste, puis entraînées par la défaite du pays. L'industrie cinématographique prospère rapidement et puise dans la littérature des histoires pour les films qu'elle doit produire à une cadence toujours plus élevée afin de répondre à la demande des salles de cinéma. C'est dans ce contexte que Naruse Mikio (1905-1969) a réalisé six films inspirés de textes de Hayashi Fumiko (1903-1951). Ces films sont représentatifs tout à la fois des relations que les institutions littéraires et cinématographiques entretenaient à l'époque où les films ont été réalisés, du rôle joué par la littérature dans la politique de production des studios de cinéma et de la façon dont l’adaptation était perçue par la critique de cinéma.Mais outre la présentation de ces aspects contextuels et historiques, l'objectif de cette thèse est de dégager des pistes qui aideraient à appréhender l'œuvre de Naruse Mikio à travers l'examen des choix qu'il opère lors du processus d'adaptation, que ce soit au niveau du sujet, de la construction du récit, ou encore de la mise en scène. Naruse parvient à trouver un équilibre entre ses ambitions formelles et les exigences du récit en élaborant avec virtuosité un style effacé ou « invisible ». Pour tenter d'en faire ressortir les particularités, notre effort s'est concentré sur l'analyse des éléments de notre corpus (films, textes et scénarios). Dans cette entreprise, les textes de Hayashi constituent un référent précieux qui aide à déterminer les rapports que le cinéaste entretient avec son sujet, avec le scénario ou encore avec les contraintes inhérentes au cadre dans lequel il travaille<br>In the early fifties, the Japanese film industry had almost recovered from the restrictions imposed first by the military regime and then from Japan’s defeat in the Pacific War. The industry then prospered rapidly and found in literature the stories needed in order to produce enough movies to comply to the always growing demand of the cinemas. It was in this context that Naruse (1905-1969) realized six movies inspired by Hayashi Fumiko's (1903-1951) works. These movies are exemplary of the relationship between literary institutions and the film industry at the time they were shot. They are also typical of the importance of literature in the production policy of the diverse film studios as well as the manner movie critics received these screen adaptations.Besides the presentation of the contextual and historical aspects, our objective is to identify ways which would help to discover Naruse Mikio's works through the filter of choices made by him at the time of the adaptation, be it when choosing the topic, the story construction or the stage direction. Naruse was able to find a balance between his formal ambitions and the requirements of the story by skillfully elaborating a subdued or “invisible” style. In order to highlight the singularities of his personal style, we have concentrated our effort on the analysis of the diverse elements of our corpus: the films, texts and scripts. In this endeavour Hayashi’s writings are a precious point of reference helping us to determine the precise nature of the relationship the film director had with his subject, with the script as well as the constraints imposed by the frame he was working in
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Teng, Eric Ju-chung. "First Encounter." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501249/.
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The film is about a newly arrived Japanese student's initial period of adjustment at the University of North Texas. This observational documentary film follows the student and witnesses the student's first reactions to various social environments. The purpose of this creative thesis project was to depict the difficulties that international students encounter at the beginning of their stay in America. The initial goal of the video was to provide useful visual research material to people who are interested in the acculturation of foreign students. Because of its realistic character, the video can give its audiences a more immediate and vivid picture of foreign students than existing written literature. By giving an authentic portrait of the students' hardship and adjustments, the ultimate goal of this video was to increase the American people's appreciation of the difficulties encountered by foreign students who come to this country equipped with limited social assistance and resources. An accompanying production report describes the research process, the pre-production, production, and post-production stages.
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Chi, Miao. "La fabrication de l’histoire : la seconde guerre sino-japonaise au cinéma sous Mao Zedong, 1949-1966." Electronic Thesis or Diss., Université de Lorraine, 2020. http://www.theses.fr/2020LORR0208.
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La mise en scène de la Seconde Guerre sino-japonaise représente une question délicate en Chine, puisque cette guerre marque un tournant dans le jeu des puissances politiques à l’intérieur du pays, en contribuant à la prise du pouvoir par le Parti communiste chinois en 1949. L’objet de ce travail porte sur l’étude des films chinois reconstituant l’histoire de la Seconde Guerre sino-japonaise de 1949 à 1966. La compréhension de cette problématique passe d’abord par l’analyse de l’ingérence politique dans le cinéma et la réaction des professionnels. Ensuite, l’étude aborde plus spécifiquement les créations en tant que telles, les messages des films de propagande sur la guerre et les modalités dont le cinéma en fait alors usage. Pour ce faire, deux méthodologies sont appliquées. Dans un premier temps, l’analyse socio-politique s’appuie sur l’exploration des conditions politiques, idéologiques et sociales liées à la production du cinéma chinois (1949-1966). Avec l’introduction de la théorie du discours de Foucault dans l’analyse des textes politiques et des sources premières des articles des professionnels du cinéma, nous apportons des éclaircissements sur l’ordre du discours cinématographique établi dans les « Interventions aux causeries sur la littérature et l’art à Yan’an » rédigées par Mao Zedong. Nous mettons également en lumière la confrontation et le conflit entre le monde du cinéma et les dirigeants du Parti pendant cette période. Dans un second temps, l’analyse de films sert, quant à elle, à appréhender les interprétations et la censure, et à examiner les évolutions des discours cinématographiques. Notre étude s’intéresse au décryptage du film de guerre antijaponais comme produit artistique complexe réunissant l’image, le dialogue et le son, dans l’objectif de dégager les interprétations politiques et culturelles de la mise en scène de la guerre. Nous révélons également les aspects concrets qui caractérisent l’influence et l’entrave politiques sur l’image du corps dans les films de guerre antijaponais et leur évolution sous Mao<br>The staging of the Second Sino-Japanese War represents a delicate issue in China, since this war marks a turning point in the interplay of political powers within the country, contributing to the seizure of power by the Chinese Communist Party in 1949. The subject of this work is the study of Chinese films reconstructing the history of the Second Sino-Japanese War from 1949 to 1966. The understanding of this issue first involves the analysis of political interference in cinema and the reaction of professionals. Then, the study addresses more specifically the creations as such, the messages of propaganda films about war and the ways in which cinema then makes use of war. Two methodologies are applied to achieve this. Firstly, the socio-political analysis focuses on the exploration of the political, ideological and social context related to the production of Chinese cinema (1949-1966). With the introduction of Foucault’s theory of discourse in the analysis of political texts and the primary sources of articles by film professionals, we shed light on the order of cinematic discourse established in the “Talks at the Yan’an Conference on Literature and Art” written by Mao Zedong. We also highlight the confrontation and conflict between the film world and the Party leadership during this period. Secondly, film analysis allows us to understand interpretations and censorship, and to examine the evolution of cinematic discourse. Our study focuses on the decoding of the anti-Japanese war film as a complex artistic product combining image, dialogue and sound, with the aim of uncovering the political and cultural interpretations of the staging of the war. We also reveal the concrete aspects that characterise the political influence and hindrance on the image of the body in anti-Japanese war films and their evolution under Mao
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Montaño, Muñoz José A. "La reescritura del cine japonés contemporáneo en la crítica española: observaciones desde los márgenes del polisistema cinematográfico." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392627.
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Tomando como referencia la teoría de los polisistemas y con la idea de reescritura como concepto central, esta tesis estudia la recepción de la cinematografía japonesa contemporánea en España. Originado en una cultura que es vista como una alteridad, el cine japonés queda relegado a una posición periférica en el discurso crítico hegemónico. Sobre esta cinematografía se maneja un limitado catálogo, en el que son recurrentes algunos aspectos como el concepto de autor; las películas de ambientación histórica; las de terror; y las de animación. También nos hemos ocupado de otros dos aspectos generalmente excluidos de la consideración crítica, como son las cuestiones de género y la comedia. En base a esos seis temas, proponemos una reflexión crítica sobre el conjunto de discursos con los que la institución crítica española conforma su reescritura del cine japonés contemporáneo.<br>Using the Polysystem Theory as a framework and with the notion of Rewriting as a central concept, this thesis studies the reception of contemporary Japanese cinema in Spain. Originated in a culture that is seen as an otherness, Japanese cinema is relegated to a peripheral position in the hegemonic critical discourse. Within the limited catalog extracted from that national cinema, there are some recurring aspects such as the concept of auteur; period films; horror films; and animation. Two more aspects, generally excluded or underrepresented in film criticism such as gender and the comedy genre, have also been taken under scrutiny. Around these six issues, we propose a critical reflection on the discourses with which the institution of film criticism in Spain rewrites Japanese cinema.
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Poncelet, Eric Claude 1962. "The Japanese family/firm analogy: A critical analysis." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291719.
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The Japanese family/firm analogy has been utilized in the past by anthropological and business scholars for the purposes of better understanding the traditional Japanese family household (the ie) and the modern-day firm. The purpose of this study is to determine the appropriateness and utility of this analogy. To accomplish this, the study reconstructs the analogy by describing the models and theories upon which it is based and then examines it from a critical viewpoint. The conclusions are mixed. The study finds that the family/firm analogy is applicable, but only within the narrow limits defined by the specific ie and modern firm models. The analogy suffers further from its misrepresentation of Japanese families and firms, internal contradictions, and a disregard for social, economic, and political contexts. What is ultimately lost through the use of the analogy is the great complexity and diversity of Japanese society.
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Hu, Tze-yue Gigi. "Understanding Japanese animation : from Miyazaki and Takahata anime /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24729954.
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Suparman, Michie Akahane School of Modern Language Studies UNSW. "An investigation into audience perception of Mononoke Hime: construction and reconstruction of contemporary Japanese identity." Awarded by:University of New South Wales. School of Modern Language Studies, 2006. http://handle.unsw.edu.au/1959.4/26975.
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This exploratory study follows existing theory and analysis of mass media product and its audience analysis. It aims to analyse how audience members utilise a popular anime in Japan for their construction and reconstruction of sense of self, which is referred to as socialisation. Academic research has increasingly shed light on audience members??? socialisation by utilising mass media products in encompassing academic fields such as media studies, communication studies and cultural studies. It is widely agreed that the content of mass media products play a significant role in their socialisation. This study takes up a Japanese anime, Mononoke Hime as a sample case for investigating audience members??? socialization. Through the analysis of reactions of audience members to Mononoke Hime, it will be investigated how audience members interpret the anime reflecting one???s experience in the society relating the experience to the content of Mononoke Hime. It will be clarified that the audience members of the anime construct and reconstruct their sense of self, morals and values in the society, that is, they utilize the anime as a facility for their socialization. The data of this study are collected comments which are compiled in a published magazine and private comments posted on Internet sites. 133 comments in the magazine and 32 comments on Internet sites are selected for the analysis. The data were analysed by two analytical approaches. The first analysis is to see how the consulted viewers established their relationship with the anime, while the second analysis is to see how the viewers depicted and interpreted the content of the anime. This study concluded that the consulted audience members show high level of ideological involvement with the anime; they depict parts of the anime relating to their experience in the real life and talk the anime seriously rather than playfully enjoy it as an entertainment. By analysing the comments of consulted audience members, it is also revealed that the audience members take characters of the anime as a role model both in cross gender and gender based ways.
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Siekmeier, Peter. "The Japanese employment system and the evolution of the firm." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/88813.
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Laird, Colleen. "Sea Change: Japan's New Wave of Female Film Directors." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12973.
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Since the mid-2000s, there has been a significant increase in female directors in Japan. Organized around the central feature of this emerging wave, this dissertation is a multifaceted project that combines historical research with reception studies, industry studies, gender studies, and formal analysis of films and marketing paratexts. In exploring the connections between film production, reception, exhibition, and auteur personas, I argue that the recent emergence of women into commercial cinema is fueled by gendered marketing tactics that seek to target contemporary female consumers. This focused gendering of auteur, product, exhibition space, and presumed spectator is changing the landscape of cinema in Japan, a process some refer to as "feminization." My dissertation rethinks the history of Japanese cinema with regards to the relationship between filmmakers as gendered bodies, distribution companies and marketing as patriarchal power structures, and the capital wielding demographic of female spectators as influential, but often neglected, consumers.<br>2015-07-11
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Damm, Andreas. "Japansk skräckfilm – en kontemplativ succé?" Thesis, Karlstad University, Faculty of Arts and Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-806.
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<p>Japanese horror film has since the late 1990: ies been extremely successful. The success could probably, at least partly, be due to the Japanese narrative style (which in my own opinion is quite suitable and effective in horror films). In what way does the Japanese narrative tradition work in matter of expression? My results point towards a narrative discrepancy between J-horror and American horror film, possibly due to the Japanese narrative tradition – a narrative tradition under the influence of various forms of ancient Japanese theatre and general Japanese culture.</p>
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Pruvost-Delaspre, Marie. "Pour une histoire esthétique et technique de la production animée : le cas de la Tôei Dôga (1956 - 1972)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030117.
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Le studio de la Tôei Dôga, fondé en 1956, est dans le Japon d’après-guerre tout à la fois le creuset d’une certaine conception de l’animation, le cœur de la formation d’une grande partie des techniciens qui vont soutenir l’industrie, mais aussi le lieu d’émergence, d’intégration et de réinvention de l’animation japonaise. En effet, si Hiroshi Ôkawa, qui dirige le studio jusqu’à sa mort en 1971, cherche à définir la structure comme le « Disney de l’Orient », le modèle américain, avidement recopié, a aussi été rapidement mis de côté, pour donner lieu à de nombreuses réinventions, appropriations et innovations technologiques. Etudiées d’un point de vue esthétique et technique, grâce à la conjonction de l’analyse formelle des films et de la prise en compte systématique des témoignages et des documents de production, ces innovations donnent à voir un processus de réappropriation du médium qui touche de près à l’histoire des techniques. Un enjeu important, dans le cadre de ce travail, consiste également à replacer aussi précisément que possible la production animée dans l’environnement économique et culturel de son époque. Ceci ne prend cependant pas nécessairement la forme d’une approche purement culturelle, mais cherche plutôt à conjuguer, grâce à des outils empruntés à l’histoire de l’art et à l’histoire culturelle, la matière filmique et la mise en question de son « contexte ». Si l’enjeu central de cette thèse aura été de définir, sur un plan esthétique et technique, une histoire de la production animée raisonnée et fondée sur une étude précise des documents disponibles, il apparaît que ses conclusions mettent en jeu les différents modèles de production traversés successivement par la Tôei, comme autant de propositions artistique, politique et stratégique, de ce que peut être le cinéma d’animation<br>The Tôei Doga studio, founded in 1956, is the place in post-war Japan where was developped a new conception of animation, trained a large part of the technicians who will support the industry in the next decades, but also the place of emergence, integration and reinvention of Japanese animation. Indeed, if Hiroshi Okawa, who will run the studio until his death in 1971, seeks to define the structure as the "Disney of the East", the American model, eagerly copied, was also quickly set aside by Tôei, a process originating many technological innovations. Studied from an aesthetic and technical point of view, through a combination of a formal analysis of Tôei Dôga’s production from 1956 to 1971 and the systematic consideration of the animators’ testimonies and production documents, these innovations make a process of appropriation of the medium visible, questionning the history of technology. A crucial issue in the context of this dissertation also includes replacing as accurately as possible Tôei Dôga’s production in the vibrant economic and cultural environment of its time. This however does not necessarily involve an approach similar to that of cultural studies, but is rather seeking to combine, with tools borrowed from art history and cultural history, film material with the questioning of its "context." If the central issue here has been to implement, on an aesthetic and technical level, a history of the animation production process based on a careful study of available records, it appears that Tôei’s successive production models involve many artistic, political and strategic suggestions of what animation may be
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Poon, Man-wai. "Cultural globalization? : the contemporary influence of Japanese animation on Hong Kong teenagers /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24872970.
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