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Journal articles on the topic 'Japanese film'
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1
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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Van Fleit, Krista. "Suspect narratives: “Sinifying” an “Indianized” Japanese story." International Journal of Asian Studies 19, no. 2 (June 28, 2022): 303–17. http://dx.doi.org/10.1017/s1479591422000067.
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AbstractIn 2013, the Malayalam film Drishyam, a suspenseful story of the cover up of an accidental murder, became a huge hit in India that inspired remakes in many regional languages including one in Hindi that, as with other recent Bollywood hits, traveled to China. This time, though, instead of screening the Hindi film in theaters, the narrative reached Chinese audiences with a Chinese language remake, titled Sheep Without A Shepherd《误杀》. The original film has been accused of lifting its story from a popular Japanese detective novel, The Devotion of Suspect X, which was also made into films in Japanese, Chinese, and Korean. This essay traces the many versions of the narrative to explore how comparing the Indian and Chinese films can recenter our understanding of global cinema and film circulation. When considering the many version of Drishyam, instead of focusing on tensions between center and periphery, we can examine both the anxieties and the creative power of cultural borrowing and the retelling of narratives in an increasingly inter-connected Asian film market
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Yeremenko, Evgenii Dmitrievich, and Zoya Vyacheslavovna Proshkova. "Редакторская практика в киносотрудничестве Советского Союза и Японии." Vestnik of Saint Petersburg State University of Culture, no. 4 (53) (December 2022): 18–23. http://dx.doi.org/10.30725/2619-0303-2022-4-18-23.
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The ideological and cultural context of Soviet-Japanese cinematographic contacts is determined by the activities of foreign film editors. The front of the work of representatives of this profession is selection, literary translation, dubbing, and in some cases – abbreviations, remounting of Japanese films for Soviet rental. Despite the «alien lifestyle», Japanese films were not just exotic «land of the rising sun», but also a kind of interpretation of European and American cultures in different genres: post-neorealist drama («Naked Island», «Red Beard»), sports film («The Genius of Judo»), film catastrophe («The Death of Japan», «The Legend of the Dinosaur»), children’s animation («Puss in Boots»). Joint film productions with Japan are especially noteworthy for the domestic cinema of the 1970s and 80s. The artistic space of these works is presented in the form of a historical drama («Dersu Uzala»), a melodrama («Moscow, my love», «Melodies of the White no-chi»), an animated fairy tale («The Adventures of the Penguin Lolo»). The Soviet Japanese co-production remains a historical example of a creative compromise between states with diverse types of social devices.
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Krauze, Maciej. "Portret artysty w wieku dojrzałym. Analiza porównawcza „Patriotyzmu” Yukio Mishimy z filmową biografią tego artysty „Mishima” w reżyserii Paula Schradera." Studia Filmoznawcze 42 (August 1, 2022): 17–32. http://dx.doi.org/10.19195/0860-116x.42.2.
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This article constitutes a comparison of two films — Patriotism (1965) by Yukio Mishima and Mishima: A Life in Four Chapters (1985) by Paul Schrader, a biographical film about the Japanese writer and director of the first film. The article focuses on how the latter film imitates the former, both in formal style and in showing the act of suicide. The analysis also covers problems of adaptation, theatricality, homoerotism and the tradition of Japanese cinema.
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Qin, Hongliang. "The Research Insights of He Feiguang’s Anti-Japanese Film." Highlights in Art and Design 1, no. 2 (October 30, 2022): 65–67. http://dx.doi.org/10.54097/hiaad.v1i2.2227.
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The films of He Feiguang hold a significant place in China's Republican-era film scene, but they have not yet garnered enough scholarly attention. His anti-Japanese films have drawn the most scholarly interest, and the results of that research often fall under the categories of biography, awkwardness as the Other, and artistic features. However, it is essential to expand on the prior study in order to explore this topic fully and broadly, especially in the study of anti-Japanese films.
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Rusinova, Elena A., and Elizaveta M. Khabchuk. "The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 74–84. http://dx.doi.org/10.17816/vgik10274-84.
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The article (the end of the publication, beginning: No 1 (35), 2018) analyzes the sound features of Japanese motion pictures created in the second half of the 20th - beginning of the 21st centuries, on the example of the speech expressiveness of screen actors. The peculiarity of the acting game for a long time was one of the obstacles to understanding and accepting Japanese films by the Western audience. The approach of Japanese film actors to taking roles was based on traditions of the theatrical performance. However, theatrical techniques organically entered the artistic structure and became distinctive features of the genre of dzidaigaki (costume-historical film), especially loved by the audience. The main vehicle in the sound design of such films was the actor's speech using an ancient language, differing from modern Japanese by the presence of additional endings and pronouns. The mode of stylization of speech, associated with a special attention to detail, brings the audience closer to the time displayed on screen, adding realism in the perception of the screen event. The article presents stylistic, phonetic, semantic features of actor's speech in Japanese films not only in costume and historical genre, but also in fantasy and animation films. In the latter two genres, the onomatopoeia (sound imaging) plays an important role in creating the sound design of the film, which is so common in Japanese colloquial and written speech that can also be attributed to a peculiar Japanese cultural tradition. Analysis of sound designs of the Japanese films, including the use of onomatopoeia, is the novelty of the work presented. The articles topicality is that analyzing another view of the world can broaden the horizon of seeing a specific creative task that is not even related to the Japanese theme, while opening up new creative opportunities. In addition, the material of the article in some extent fills a gap in Russian cinema studies, related to the theme of sound in Japanese cinema.
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Centeno Martín, Marcos. "Introduction. The Misleading Discovery of Japanese National Cinema." Arts 7, no. 4 (November 26, 2018): 87. http://dx.doi.org/10.3390/arts7040087.
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The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text and production-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action films created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.
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Andayani, Santi, Emma Rahmawati Fatimah, Gathisa Silvia Gunawan, and Aisyah Bellatrix Kancanadewi. "Social Representation of Japanese Characters in Zainichi Film." IZUMI 10, no. 2 (November 26, 2021): 398–410. http://dx.doi.org/10.14710/izumi.10.2.398-410.
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Discriminative treatment and zainichi identity crisis have often focused on zainichi-themed literary and media works. In terminology, zainichi is a term for ethnic Koreans living in Japan. Koreans are victims because of their minority, and Japanese are portrayed as perpetrators who discriminate against them. This study focuses on the representation of Japanese people through the main characters in the film Zainichi, Hotaru (2001) and For Those We Love (2007), which are the objects of this research. This study uses the representation theory by Stuart Hall to propose how Japanese people are represented in the zainichi film media. This research uses documentation and literature study techniques for data collection and descriptive qualitative methods for data analysis The results showed that the representation of the Japanese through the main characters in the two films emphasized more the positive or humanist Japanese characters: 1) people who respect other nations; 2) people who are compassionate and appreciate human values; 3) people who are considerate; 4) trustworthy people; 5) people who are loyal and committed to their friends and lovers.
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Krotowski, Michał. "Manggha – Feliks Jasieński. O mało znanym filmie Kazimierza Muchy." Gdańskie Studia Azji Wschodniej, no. 18 (2020): 120–30. http://dx.doi.org/10.4467/23538724gs.20.039.12876.
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Manggha (Feliks Jasieński) – on a little-known film by Kazimierz Mucha This article contains an analysis of an educational documentary film released in 1981 and directed by Kazimierz Mucha. The film is not accessible to a wider public, and a copy (not of the highest quality) is stored in the archive of the Wytwórnia Filmów Oświatowych (Educational Film Studio) in Łódź. However, this film is an interesting and unique example of the interest of Polish filmmaking in Japanese art. Despite what the title might suggest, this is not a biographical documentary. In it, only a few selected facts drawn from the life of Feliks Jasieński are presented, frequently interspersed with quotations. Above all, the makers of the film focused on a presentation of the collection of Japanese art gathered by Manggha (Jasieński’s artistic pseudonym), and also on its reception in Poland during Jasieński’s period of activity, that is at the turn of the nineteenth and twentieth centuries. Because it is a short film (this was surely a requirement imposed on the majority of educational films), the film refers to the abovementioned issues in a synthetic and incomplete fashion. Besides offering an analysis of the film, this article throws light on the somewhat forgotten figure of Jasieński and the Promethean ideas that he espoused of grafting several models drawn from Japanese culture on to Polish art, at a time when a broad Polish public encountered Japanese culture for the first time.
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REIFMAN, BORIS V. "Visual Complexity in Japanese and European Cinema of the 1950s–1960s: Stylistic and Semantic Similarities and Differences." Art and Science of Television 18, no. 3 (2022): 179–202. http://dx.doi.org/10.30628/1994-9529-2022-18.3-179-202.
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In this article, I study the stylistic features of Japanese cinematography of the middle of the twentieth century, which was introduced to European critics and the general public in the 1950s. The cinematic style of the analyzed Japanese films is associated with the concept of visual complexity, borrowed from Le Fanu’s book Mizoguchi and Japan (Le Fanu, 2018). One of the manifestations of visual complexity in the films of Kenji Mizoguchi, YasujiroOzu, early Akira Kurosawa and other Japanese film directors of the ’50s, is that the viewer, experiencing anxiety and disharmony, is forced to build up in his mind an image, that is difficult to identify in the first moments of its screen existence, to regognizable objectivity. Another interesting aspect of visual complexity is the motionless long shots taken by a camera distanced from the object of observation—seemingly impassive, but at the same time bringing the viewer to a high degree of tension. These manifestations of visual complexity in Japanese cinema are compared to the outwardly similar forms created in the same period or somewhat later by such European film modernists and representatives of the American New Hollywood as Ingmar Bergman, Michelangelo Antonioni, Andrei Tarkovsky, Stanley Kubrick and, mainly, Robert Bresson. However, analyzing primarily Kenji Mizoguchi’s Ugetsu Monogatari (“Tales of Moonlight and Rain”) and relying on the article A Lesson in Japanese Film Style by André Bazin and works by Jean-Luc Godard, Mark Le Fanu and Jean-Marie Gustave Le Clézio, I show that, in Bazin’s words, Japanese films do not so much give a sense of the style of the work that characterizes their authors as they express the anonymous “artistic spirit of a distinct civilization” (as cited in Le Fanu, 2018, p. 179). This means that Japanese cinema of the period under study contains artistic traditions that were formed and developed long before the birth of cinema to a much more pronounced degree than European and American auteur cinema. In particular, Japanese cinematography is obviously influenced by theatrical traditions, primarily Noh, the ancient traditions of making folding screens, tapestries, and erotic miniatures. All this, in turn, is a part of Japanese mentality rather than of Japanese intellectual culture. And this largely distinguishes Japanese cinema from formally similar European and American film modernism, predetermined not so much by mental factors and old cultural traditions as by contemporary intellectual discourses, primarily existentialist and Christian-personalist philosophy.
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Harmes, Marcus. "Review of Japanese Horror Films and the Their American Remakes." CINEJ Cinema Journal 3, no. 2 (October 13, 2014): 218–21. http://dx.doi.org/10.5195/cinej.2014.101.
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Valerie Wee’s monograph on American remakes of Japanese supernatural horror films is a contribution to Routledge’s Advances in Film Studies series and examines a cluster of films made in the late 1990s and early 2000s. These are films which in their first incarnation were Japanese (such as Ringu) which were then remade by Hollywood (for example Ringu became The Ring).
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Chiharu, IZUMI. "Japanese Films Widening Choices in Korean Film Market." KOREA SCIENCE & ART FORUM 31 (December 31, 2017): 341–54. http://dx.doi.org/10.17548/ksaf.2017.12.30.341.
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Robinson, Juneko J. "Jay McRoy (2007) Nightmare Japan: Contemporary Japanese Horror Cinema." Film-Philosophy 14, no. 1 (February 2010): 350–60. http://dx.doi.org/10.3366/film.2010.0018.
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Stok, Witold. "Shimmer and whisper." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (December 15, 2021): 313–22. http://dx.doi.org/10.14746/i.2021.39.15.
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The author of the article, one of the acclaimed Polish cinematographers, describes his practical eforts involved in making two short documentary films on Holocaust directed by him. The first one,Sonderzug (1978), was based on Stok’s idea to recreate his first emotional reaction to the landscape around Treblinka in the film that lasts 9 minutes, as long as the way of the Jews from the ramp to their end in the death camp. The other film, Prayer (1981), is the portrayal of a Japanese Buddhist monk praying at the site of the former Auschwitz-Birkenau concentration camp. The formal inspiration of the film came from Japanese visual art.
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Erwantoro, Heru. "SEJARAH SENSOR FILM DI INDONESIA Masa Hindia Belanda dan Pendudukan Jepang (1916 – 1945)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 2, no. 1 (March 1, 2010): 1. http://dx.doi.org/10.30959/patanjala.v2i1.192.
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AbstrakBanyak persoalan di dunia perfilman Indonesia, salah satunya masalah penyensoran. Untuk menemukan akar permasalahan mengenai sensor film dilakukan penelitian sejarah dengan menggunakan metode sejarah. Dari penelitian ini didapatkan bahwa landasan (motif, tujuan, ideologi) yang berbeda yang diterapkan dalam penyensoran mengakibatkan hasil yang berbeda. Pada masa Hindia Belanda, dihasilkan film-film lokal yang bergenre Hollywood penuh dengan adegan seksual dan kekerasan. Film yang demikian itu, sebagai hasil dari politik pemerintah penjajahan Hindia Belanda yang menjadikan film sebagai media untuk merusak mentalistas rakyat Hindia Belanda. Sedangkan pada masa pendudukan Jepang, pemerintah sangat berkepentingan untuk mendapat dukungan dari masyarakat luas guna kepentingan perang melawan Sekutu. Maka, dihasilkanlah film-film dokumenter yang berbasiskan ilmu pengetahuan sebagai media propaganda yang dapat memaksimalkan mobilisasi rakyat. Kedua pemerintahan itu tidak bermaksud membangun dunia perfilman di Hindia Belanda, mereka hanya menggunakan film untuk kepentingannya masing-masing. AbstractThere are many problems in Indonesian film cinema, which one is censorship. For found to root of the censorship film problems done by history research with history method. From result of this research, we founded that different basic of motivation, goal, and ideology which applicated in censorship to result in different produc too. Era Ducth Indies, produced local films with Hollywood genre full of sexual and violence. Those films as produc from political colonial Hindia Belanda which films as media for disturbed mentality of Hindia Ducth people. Whereas era Japanese, the government needs support from the people for war winning versus America. So that, era Japanese occupation produced documenter films which siences based as propaganda media which can be maxima mobilization the people. Two of government not means to develop films sector, they use film only for interesting by self.
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Ong, Donna. "Liu Na'ou: The Fate of “Middling Modernity” and the Global Pure Film Movement in Republican-Era Shanghai." Film Quarterly 72, no. 2 (2018): 26–37. http://dx.doi.org/10.1525/fq.2018.72.2.26.
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The Pure Film movement to elevate cinema as an art form enjoyed a global following amongst commercial to avant-garde filmmakers and theorists during the interwar period. In East Asia, the influence of this vibrant discourse is perhaps best represented by the widely studied Japanese Pure Film movement, but little is known about its presence in China or the enigmatic figure Liu Na'ou who imported these discourses from the West, via Tokyo to Shanghai. Intended to improve the quality of Chinese films, these modernist film theories inevitably became embroiled in Liu's political campaign to protect freedom in the arts and entertainment against leftist political dogma of national defense and rising proletarianism. Following Liu's violent assassination for treason during the Sino-Japanese war, what is now considered Western Classical film theory became subject to the same stigma and taboo that has plagued the writing of Republican-era Chinese film history.
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정욱성. "'Healing' Japanese film directed research." Japanese Language and Literature Association of Daehan ll, no. 64 (November 2014): 437–52. http://dx.doi.org/10.18631/jalali.2014..64.024.
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Sae, Kitamura. "A Rose by Any Other Name May Smell Different." Critical Survey 33, no. 1 (March 1, 2021): 59–71. http://dx.doi.org/10.3167/cs.2021.330105.
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Using William Shakespeare’s name is considered helpful for marketing films in English-speaking regions because of the authority that this name wields. This article reveals a different marketing landscape in Japan, where film distribution companies are indifferent to associations with Shakespeare. For example, when Ralph Fiennes’ Coriolanus (2011) was released in Japanese cinemas, it was retitled The Proof of the Hero; the Shakespearean association was deliberately erased from the Japanese title. Such a marketing policy should be situated within a wider trend of promoting non-Japanese films in Japan. It is possible to point out three major reasons: the unpopularity of American comedy films, the relative unpopularity of theatre, and Japanese distributors’ heavily localised marketing policies, which are often criticised by fans on social media.
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Wan, Yuming. "Study of the Geisha Figure in Japanese and Hollywood Cinema (1954-2007)." BCP Social Sciences & Humanities 19 (August 30, 2022): 368–75. http://dx.doi.org/10.54691/bcpssh.v19i.1632.
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This paper touches on the theme of geisha in both Japanese and Hollywood Cinema from 1954 to 2007 and analyzes both the film language and social and historical settings of the cinematic work. By discussing the history of geisha and depiction of geisha in various films, the paper discovers the broader significance of film in the cultural and diplomatic relationship between countries during the post-war era.
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Tyas, Agnes Siwi Purwaning. "Kokutai Spirit and The Concept of National Identity in Japanese National Policy Film." Retorik: Jurnal Ilmu Humaniora 10, no. 1 (September 16, 2022): 34–55. http://dx.doi.org/10.24071/ret.v10i1.4808.
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The Greater East Asia Co-Prosperity Sphere was Japan’s imperialist attempt to control the economies of East Asia and Southeast Asia in the first half of the twentieth century. The constituents of the Sphere included Japan, Korea, China, Manchuria, and some territories in Southeast Asia. To increase agricultural production and strengthen its military force, Japan recruited people from its colonies. As the leader of the Sphere, Japan wished to establish its own identity as distinct from—and superior to—that of the West. Propaganda campaigns and media were carefully prepared to manipulate the thoughts and behavior of the people to contribute to the supposed goal of mutual prosperity in the Sphere, by providing labor power for industry and agriculture as well as the military. Films were central to the Japanese propaganda. From 1936 to 1945, films that contain political and ideological messages of the Japanese leadership were produced and circulated both inside and outside Japan. This research aims to illuminate the identity of the Japanese imperial power that was promoted through the propaganda films and show how the films highlighted nationalism and culture harnessed during the war period as constitutive of Japan’s national identity, or kokutai.
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Nettelbeck, Hugh Wilson. "Comparing audience perceptions of characters in subtitled film." Journal of Audiovisual Translation 3, no. 1 (November 2, 2020): 50–71. http://dx.doi.org/10.47476/jat.v3i1.2020.102.
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Understanding of key character attributes in foreign film may be reduced when perception is dependent on subtitles. This research aimed to validate a reception-based method for empirically measuring functional equivalence of character voice in subtitled film. Participants watched a Japanese film excerpt, with or without English subtitles, and rated their impressions of the central character (Takuji) on 16 character descriptors (8 antonym pairs), identified by the author as important for understanding Takuji. Perceptions of Takuji’s personality were compared between Japanese and English speakers in two studies (Study 1, N = 49, 28 Japanese, 21 English; Study 2, N = 53, 23 Japanese, 30 English). Both studies involved assessment of Takuji by Japanese speakers (no subtitles) and English speakers (English subtitles). Study 2 attempted to improve inter-item reliability and equivalence between languages by using more direct antonyms and longer descriptors than Study 1. Results from both studies established significant differences in character perceptions between Japanese and English viewers and confirmed the reliability of Japanese intracultural perceptions. Consistency in the loss of character voice between language groups in both studies confirmed that this approach to measuring character voice has strong potential for assessing subtitling approaches that aim to address functional equivalence in character perception.
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Sheppard, W. Anthony. "An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood." Journal of the American Musicological Society 54, no. 2 (2001): 303–57. http://dx.doi.org/10.1525/jams.2001.54.2.303.
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Abstract The cinema was the most effective medium for anti-Japanese propaganda in the United States during World War II and was the site of music's most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexistent European music, stereotypical Orientalist signs, and traditional Japanese music against the exotic enemy. This essay analyzes some sophisticated examples of musical propaganda that offer new perspectives for the study of cross-cultural musical encounters. For many in the United States, Hollywood film music continues to shape their impressions of Japan and their perceptions of Japanese music.
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Xiaofei, Wang. "Movies Without Mercy: Race, War, and Images of Japanese People in American Films, 1942-1945." Journal of American-East Asian Relations 18, no. 1 (2011): 11–36. http://dx.doi.org/10.1163/187656111x577465.
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AbstractHistorian John Dower titles his book War Without Mercy. Similarly, wartime Hollywood showed no mercy when depicting Japanese. Negative portrayals were often based on actual atrocities, but it was racism to demonize an entire people and culture. The story of how politics in Hollywood and Washington, the conduct of war, and international relations shaped and changed film racism involves a much more complex approach than has been practiced to date. Using archives of film studios, the Production Code Administration (PCA), and governmental agencies such as the Office of War Information (OWI), this article traces the power struggle among them and a new racism which emerged after 1941. Filmmakers now projected favorable images of Chinese to distinguish their new allies from the Japanese enemy. OWI struggled to promote a liberal agenda which saw the enemy as world fascism, not the Japanese people. The article analyzes more than two dozen films to trace the complications in three types of wartime screen racism: (1) "Verbal racism," such as derogating words like "Jap." (2) "Physical racism," which dramatized and ridiculed physical characteristics of Japanese people. (3) "Psychological racism," which saw all Japanese people as cruel and treacherous.
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Ku, Min Ah. "Postwar American-Japanese Relations and Atomic Bomb in Japanese Film." Journal of Image and Cultural Contents 16 (February 28, 2019): 159–84. http://dx.doi.org/10.24174/jicc.2019.02.16.159.
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Kyoung, Kim Bo. "Postwar Japanese Film and Female Subjectivity." Korean Journal of Japanology 110 (February 28, 2017): 307–23. http://dx.doi.org/10.15532/kaja.2017.02.110.307.
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Izbicki, Joanne, and Mitsuhiro Yoshimoto. "Kurosawa: Film Studies and Japanese Cinema." Journal of Japanese Studies 28, no. 1 (2002): 254. http://dx.doi.org/10.2307/4126804.
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Obataya, Eiichi, Kenji Umemura, Misato Norimoto, and Yoshitaka Ohno. "Viscoelastic properties of Japanese lacquer film." Journal of Applied Polymer Science 73, no. 9 (August 29, 1999): 1727–32. http://dx.doi.org/10.1002/(sici)1097-4628(19990829)73:9<1727::aid-app13>3.0.co;2-l.
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MacWilliams, Mark. "Japanese Mythology in Film: A Semiotic Approach to Reading Japanese Film and Anime by Yoshiko Okuyama." Journal of Japanese Studies 43, no. 1 (2017): 205–10. http://dx.doi.org/10.1353/jjs.2017.0025.
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Parks, Tyler. "Change, Horizon, and Event in Ozu'sLate Spring(1949)." Film-Philosophy 20, no. 2-3 (October 2016): 283–302. http://dx.doi.org/10.3366/film.2016.0016.
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Over the decades, the films of Yasujirō Ozu have inspired a number of contradictory responses from film critics and theorists. Initially, formal aspects of his work, which Western commentators found difficult to comprehend in relation to the thematic dimensions of the films, were often said to reflect aesthetic and philosophical principles associated with Zen Buddhism. Like the recurrence of plots that explore the transformations of the Japanese family, many formal attributes of Ozu's films were assumed to express various ideas related to traditional Japanese values. In their work on Ozu, Kristin Thompson and David Bordwell do an admirable job of debunking many clichés and misconceptions about the relationship of Ozu's work to Zen philosophy, aesthetics, and social conventions. Undoubtedly though, a metaphysical outlook emerges in Ozu's work that is neither wholly conditioned by the socialised norms of Zen and tradition, nor entirely free of them. This paper considers and analyses a claim made by Gilles Deleuze about the metaphysical orientation of Ozu's work, one which ascribes aspects of Ozu's style to a Zen conception of time. This particular argument concerns Ozu's famous still lifes, and it is my contention that through considering some aspects of Deleuze's reading of Ozu alongside Bordwell, Thompson, and Noël Burch's writing on the director, we can see what is asked of us by a film like Ozu's Late Spring (Banshun, 1949), which offers us an opportunity to rethink the relations between cinematic form, narrative, and emotion.
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Mulyadi, Budi, and Aida Kurniasih. "Pandangan Masyarakat Jepang terhadap Tokoh Transeksual dalam Film Karera ga Honki de Amu toki wa." Japanese Research on Linguistics, Literature, and Culture 1, no. 2 (June 1, 2019): 112–28. http://dx.doi.org/10.33633/jr.v1i2.2461.
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This paper entitled the view of Japanese society towards transsexual character in the movie “Karera ga honki de amu toki wa”. The main goal of this writing paper is to know about the view of Japanese society towards transsexual character which described in the movie Karera ga honki de amu toki wa. To analyze the description of heteronormativity in society that Naoko Ogigami wishes to convey in this film, we use the labeling theory in Narwoko and Suyanto and the literary sociology theory of Wellek and Warren by focusing on the second point, namely the sociology of literature. From the results of the analysis, it can be explained that the views of Japanese society on the transsexual figures portrayed in this film are not good. The act of labeling Rekso as a bad character in the film illustrates that there are still some Japanese people who have not accepted the existence of transsexuals. From the five aspects of sociology analyzed for this film, it can be concluded that although Japan is a country that is considered tolerant, they have not been able to fully accept transgender people in their social environment. Especially in aspects such as education, social and cultural aspects.Keywords: Film, Japanese Society, View, Transsexual, Character
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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan." Arts 8, no. 2 (May 17, 2019): 64. http://dx.doi.org/10.3390/arts8020064.
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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.
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Bender, Shawn. "Drumming from Screen to Stage: Ondekoza's Ōdaiko and the Reimaging of Japanese Taiko." Journal of Asian Studies 69, no. 3 (June 22, 2010): 843–67. http://dx.doi.org/10.1017/s0021911810001531.
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In a performance of Ōdaiko, arguably the most iconic and widely performed piece in Japanese taiko drumming, a loincloth-clad man pounds furiously on a huge Japanese drum to the point of near exhaustion. Although this piece often is assumed to descend from Japan's rich heritage of folk drumming, this article argues instead that Ōdaiko was inspired by a fictional representation of festival drumming in the mid-century Japanese film The Rickshaw Man (Muhōmatsu no isshō). In addition, the revealing clothing worn in the performance derives not from Japanese custom but from the input of the French designer Pierre Cardin. Tracing the emergence of Ōdaiko in the influential taiko ensemble Ondekoza, this article sheds light on the potent mixture of folkloric instrumentation and modern sensibility that distinguishes contemporary taiko drumming.
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Terakopyan, Maria L. "Naomi Kawase: the Eternal and the Transitory." Journal of Flm Arts and Film Studies 7, no. 4 (December 15, 2015): 121–27. http://dx.doi.org/10.17816/vgik74121-127.
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Naomi Kawase is one of the most renown female Japanese director, awarded by the Cannes Film Festival more than once. She works alternately in fiction and documentary film, not drawing a distinct line between the two. Her favored themes are birth and death, the union of man and nature; the most distinctive feature of her style is technical minimalism. The region of Nara, Kawases home - is almost always the location for her films.
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Melnyk, George. "A History of Contested Narratives: The National Film Board of Canada’s Evolving Cinematic Treatment (1945–2018) of the Internment of Japanese Canadians during World War Two." Anglica. An International Journal of English Studies, no. 30/3 (September 1, 2021): 65–87. http://dx.doi.org/10.7311/0860-5734.30.3.05.
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The National Film Board of Canada (NFB) is world-renown for its documen- taries and animations. This article examines how the NFB dealt with one specific topic – the internment of Japanese Canadians during World War Two. By analyzing the films produced by the NFB between 1945 and 2018, this study seeks to understand how and why its narratives of the internment changed dramatically over three-quarters of a century. The study deals with six NFB films: Of Japanese Descent (1945), Enemy Alien (1975), Minoru: Memory of Exile (1992), Freedom Has a Price (1994), Sleeping Tigers: The Asahi Baseball Story (2003), and East of the Rockies (2018). Drawing on the postcolonial concepts of the colonizing gaze and hegemony, as well as poststructuralist concepts of the trace and discourses of power, it probes the evolution of the NFB’s cinematic culture and concludes that the NFB’s film legacy parallels a changing public discourse in Canada on this traumatic historical violation of human rights.
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Racmayani, Novia, and Amir Husni. "Effect of Different Formulations on Characteristic of Biobased Alginate Edible Films as Biodegradable Packaging." E3S Web of Conferences 147 (2020): 03003. http://dx.doi.org/10.1051/e3sconf/202014703003.
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Edible film can be used for food packaging. The main raw materials for edible film were alginates and plasticizers including glycerol and olive oil. This study aims to determine the characteristics of edible film composed of alginate, glycerol and olive oil. The study was carried out through the manufacture of edible films composed of alginates with various concentrations (2, 3, 4, 5 and 6%, w / v), 10% glycerol and 0.01% olive oil. Characteristics of edible film was observed including thickness, tensile strength, water vapor transmission rate, solubility and elongation. The results showed that the products met the edible film standard of the Japanese Industrial Standard. Concentration of alginate used had significant effect on thickness, tensile strength, solubility and elongation of the edible film. The films with 6% concentration of alginate showed optimum results with thickness 0,227 ± 0,008 mm, tensile strength 3,097 ± 0,384 MPa, elongation 86,682 ± 5,090 %, solubility 8,690 ± 2,892 % and water vapor transmission rate 45,477 ± 6,262 g/m2/24 h.
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Suter, Rebecca. "Japanese Mythology in Film: A Semiotic Approach to Reading Japanese Film and Anime, written by Yoshiko Okuyama." Journal of Religion in Japan 6, no. 1 (2017): 71–74. http://dx.doi.org/10.1163/22118349-00601003.
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Prindle, Tamae K. "Easing Transition with Metaphors: A Case of Transsexuality." Asian Studies, no. 3 (December 1, 2011): 41–58. http://dx.doi.org/10.4312/as.2011.15.3.41-58.
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Using Yūji Usui’s novel A Grass-Carp on a Tree (1993) and its film adaptation (1997) by Atsushi Ishikawa as metaphors, this paper traces the transition of Japanese attitudes towards sexuality. The novel and the film work as vehicles that “map” what is actuallytaking place in Japan and how the transition is felt by Japanese people.
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Myerson, Sasha. "Global cyberpunk." Science Fiction Film & Television 13, no. 3 (October 1, 2020): 363–86. http://dx.doi.org/10.3828/sfftv.2020.21.
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This article examines the connections between 1960s student protests, particularly the occupation of the University of Tokyo in 1968-9, and 1980s cyberpunk film in Japan. I argue that these films, while critical of the student movement, aim to reclaim and transform the utopian spirit that motivated them. Using the global 1960s framework, I situate Japanese cyberpunk film within the wider debates of this decade, particularly those concerning personal liberation and affluence. Using Tom Moylan’s concept of the critical dystopia, I demonstrate that utopian thinking does not disappear after 1968 in Japan but undergoes metamorphosis in these films.
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Anderson, Kent. "Reflections on I Just Didn't Do It, the Lay Judge System, and Legal Education in and out of Japan." Asian Journal of Comparative Law 7 (2012): 1–21. http://dx.doi.org/10.1017/s2194607800000648.
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AbstractIn 2007 the Academy Award winning director of Shall We Dance released his new film, a critique of the Japanese criminal justice system from a wrongful conviction perspective. In this article, I use the filmas avehicle to serve three disparate goals. First, I provide the firstlegal critique of the film, a genre of legal scholarship developing over the past 15 years. Second, I use the film to reflect on criminal justice reforms in Japan, in particular the introduction of the Lay Judge System (quasi-jury saiban-in seido) from 2009. Third, I critically ask whether use of film as a legal text assists or distracts from my primary pedagogical objectives in teaching comparative Japanese law. I conclude with a cautious recommendation of I Just Didn't Do It as legal cinema, as a catalyst for reform of the Japanese criminal justice system and as an educational text.
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Hashimoto, Masaaki, and Yoshihiro Taguchi. "Design and Fabrication of a Kirigami-Inspired Electrothermal MEMS Scanner with Large Displacement." Micromachines 11, no. 4 (March 30, 2020): 362. http://dx.doi.org/10.3390/mi11040362.
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Large-displacement microelectromechanical system (MEMS) scanners are in high demand for a wide variety of optical applications. Kirigami, a traditional Japanese art of paper cutting and folding, is a promising engineering method for creating out-of-plane structures. This paper explores the feasibility and potential of a kirigami-inspired electrothermal MEMS scanner, which achieves large vertical displacement by out-of-plane film actuation. The proposed scanner is composed of film materials suitable for electrothermal self-reconfigurable folding and unfolding, and microscale film cuttings are strategically placed to generate large displacement. The freestanding electrothermal kirigami film with a 2 mm diameter and high fill factor is completely fabricated by careful stress control in the MEMS process. A 200 μm vertical displacement with 131 mW and a 20 Hz responsive frequency is experimentally demonstrated as a unique function of electrothermal kirigami film. The proposed design, fabrication process, and experimental test validate the proposed scanner’s feasibility and potential for large-displacement scanning with a high fill factor.
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Berger, Sally. "Yamagata International Documentary Film Festival: Blending Tradition with Modernity." Film Quarterly 71, no. 3 (2018): 87–93. http://dx.doi.org/10.1525/fq.2018.71.3.87.
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Every two years since 1989, the Yamagata International Documentary Film Festival takes place in Yamagata City, three hours by bullet train north of Tokyo. It is the longest running Asian documentary film festival and retains its status as a key locus point for showcasing Asian nonfiction film along with an international roster. This report examines the festival's history, relationship to Ogawa and other masters of Japanese documentary, and report on its contemporary Japanese, Asian and International programming. What is the stature of the festival today and whom does it serve?