Relevant bibliographies by topics / Oshima Nagisa

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Oshima Nagisa'

Author: Grafiati
Published: 20 February 2023
Last updated: 31 July 2025

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Journal articles on the topic "Oshima Nagisa"

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Nowell-Smith, Geoffrey. "Oshima Revisited." Film Quarterly 64, no. 2 (2010): 19–23. http://dx.doi.org/10.1525/fq.2010.64.2.19.

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Nagisa Oshima's films of the 1960s made him a darling of left-wing cinephiles, who responded to their radicalism and embraced it as revolutionary optimism. Thirty years on, however, the films seem much more pessimistic, skeptical, and unlikable—and arguably all the greater as a consequence.
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Turim, Maureen. ": Cinema, Censorship, and the State: The Writings of Nagisa Oshima . Annette Michelson, Nagisa Oshima." Film Quarterly 47, no. 4 (1994): 37–38. http://dx.doi.org/10.1525/fq.1994.47.4.04a00070.

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Turim, Maureen. "Review: Cinema, Censorship, and the State: The Writings of Nagisa Oshima by Annette Michelson, Nagisa Oshima." Film Quarterly 47, no. 4 (1994): 37–38. http://dx.doi.org/10.2307/1212982.

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Boyer, Martine. "De L’empire des sens à Romance X." Figures de l'Art. Revue d'études esthétiques 4, no. 1 (1999): 645–47. http://dx.doi.org/10.3406/fdart.1999.1229.

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Ceux qui aiment le film de Catherine Breillat disent Romance X, cette lettre en plus donnant à son titre tous ses sens. L’affiliation à Nagisa Oshima s’arrête là où, pour nous, les femmes, le désir décline son identité spécifique. Une voix nouvelle a résonné dans le cinéma.
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Yoshimoto, Mitsuhiro, and Maureen Turim. "The Films of Oshima Nagisa: Images of a Japanese Iconoclast." Journal of Japanese Studies 26, no. 1 (2000): 176. http://dx.doi.org/10.2307/133401.

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Lippit, Akira Mizuta, and Maureen Turim. "The Films of Oshima Nagisa: Images of a Japanese Iconoclast." Monumenta Nipponica 54, no. 1 (1999): 160. http://dx.doi.org/10.2307/2668290.

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Guimarães, Pedro Maciel, and Pedro Tinen. "As dimensões políticas da reflexividade épica em O Enforcamento." Revista ECO-Pós 23, no. 2 (2020): 305–29. http://dx.doi.org/10.29146/eco-pos.v23i2.27635.

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Este artigo examina a maneira com que O Enforcamento (Nagisa Oshima, 1968) emprega a reflexividade crítica e técnicas de anti-ilusionismo, componente do projeto político particular à geração sessentista do cinema moderno japonês, como instrumentos integrantes à formulação do pensamento historiográfico da noção de um ‘cinema nacional' japonês. Busca-se entender a diferença entre os regimes “representacionais” e “apresentacionais”, presentes na história das formas artísticas, e como o cinema japonês, por sua relação direta com a prática teatral daquele país, estabelece relações diretas com o reg
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Santos, Antonio. "La Nuberu Bagu y el nuevo Japón." Comillas Journal of International Relations, no. 17 (April 23, 2020): 8–23. http://dx.doi.org/10.14422/cir.i17.y2020.002.

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En 1956 se estrenaron en Japón tres largometrajes basados en novelas de Shintaro Ishihara. Su éxito originará una serie de películas, antesala de la Nuberu Bagu: un joven cine encaminado a la transformación radical del séptimo arte y de la sociedad japonesa, cuyos representantes se muestran muy críticos con su tiempo. Los trabajos innovadores que realizaron estos jóvenes cineastas autorizaron a algunos críticos a reconocer en ellos la vanguardia de una Nueva Ola. El ejemplo más distinguido de esta desviación hacia posiciones radicales lo proporcionó Nagisa Oshima con sus Historias crueles de j
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Grindon, Leger. "Review: The Films of Oshima Nagisa: Images of a Japanese Iconoclast by Maureen Turim." Film Quarterly 53, no. 1 (1999): 51–53. http://dx.doi.org/10.2307/3697219.

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Bary, Brett de. "Looking at Foreign Sky, desperately seeking post-Asia: Soni Kum, Nagisa Oshima, Ri Chin’u." Asian Cinema 26, no. 1 (2015): 7–22. http://dx.doi.org/10.1386/ac.26.1.7_1.

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Dissertations / Theses on the topic "Oshima Nagisa"

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Bowden, Shayne William. "Ryakushô Renzoku Shasatsuma, Fukei Cinema and the Framing of Landscape." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18503.

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The aim of this thesis is to investigate the cinematic use of landscape in Adachi Masao’s documentary Ryakushô Renzoku Shasatsuma (1969). The secondary aim is to examine the theory of landscape, otherwise known as fukeiron which has become synonymous with this film and further assess the application of this concept to cinema external to the fukei cinema Fukeiron was a socio-historically situated discussion of space and power that occurred amongst Tokyo based artists, writers, filmmakers and photographers during the late 1960s and early 1970s. Members of this movement used the appropriation and
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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 Resid
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Shepherdson, Kari L. "Fists, youth, and protest : Oshima Nagisa’s filmic rebellion in 1960." Thesis, 2002. http://hdl.handle.net/2429/13935.

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In 1960, as the heated protests against the renewal of the U.S.-Japan Security Treaty raged on the streets of Tokyo, Japanese director, Oshima Nagisa, produced three films: “Cruel Story of Youth”, “Graveyard of the Sun”, and “Night and Fog in Japan”. Privileging tales of angry, young rebels, lashing out at oppressive social, economic, and political forces, the films seemed to capture the frustrated feelings of the protesting students on the streets in front of the Diet. Oshima revealed the inspiration the momentous protests (known as the Ampo Struggle) had upon him and his filmic production by
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Books on the topic "Oshima Nagisa"

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Charles, Tatum, ed. Nagisa Oshima. Cahiers du cinéma, 1986.

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Torino Film Festival (27th : 2009), ed. Nagisa Oshima. Torino Film Festival, 2009.

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Casas, Quim coord. / Iriarte Ruiz, Ana Cristinacoord. Nagisa Oshima. 2013.

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Turim, Maureen. Films of Oshima Nagisa: Images of a Japanese Iconoclast. University of California Press, 1998.

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The films of Oshima Nagisa: Images of a Japanese iconoclast. University of California Press, 1998.

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6

Cinema, censorship, and the state: The writings of Nagisa Oshima, 1956-1978. MIT Press, 1991.

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Oshima, Nagisa. Cinema, Censorship, and the State: The Writings of Nagisa Oshima (October Books). The MIT Press, 1993.

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8

Oshima, Nagisa. Cinema, Censorship, and the State: The Writings of Nagisa Oshima, 1956-1978 (October Books). The MIT Press, 1992.

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9

Naimen no nonfikushon: Yamada Eimi taidanshu : Nosaka Akiyuki, Kojima Nobuo, Oshima Nagisa, Inoue Hisashi, Shimada Masahiko, Tanikawa Shuntaro, Saeki Kazumi, Yoshida Ruiko, Setouchi Jakucho. Fukutake Shoten, 1992.

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Book chapters on the topic "Oshima Nagisa"

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Hori, Hikari. "Oshima Nagisa’s Ai no korida Reconsidered: Law, Gender, and Sexually Explicit Film in Japanese Cinema." In Cinema, Law, and the State in Asia. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604919_8.

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"Conclusion: Whither Oshima?" In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-010.

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"ACKNOWLEDGMENTS." In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-001.

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"CHAPTER ONE. Cultural Iconoclasm and Contexts of Innovation." In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-002.

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"CHAPTER TWO. Cruel Stories of Youth and Politics." In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-003.

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"CHAPTER THREE. Rituals, Desire, Death Leaving One's Will on Film." In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-004.

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"CHAPTER FOUR. Signs of Sexuality in Oshima's Tales of Passion." In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-005.

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"CHAPTER FIVE. Warring Subjects." In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-006.

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"CHAPTER SIX. Popular Song, Fantasies, and Comedies of Iconoclasm." In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-007.

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"CHAPTER SEVEN. Documents of Guilt and Empire." In The Films of Oshima Nagisa. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918283-008.

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You might also be interested in the extended bibliographies on the topic 'Oshima Nagisa' for particular source types:
Journal articles
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