Visions of Japanese Modernity : Articulations of Cinema, Nation, and Spectatorship, 1895-1925

Visions of Japanese Modernity : Articulations of Cinema, Nation, and Spectatorship, 1895-1925

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Japan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defi...

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Bibliographic Details
Main Author: Gerow, Aaron Andrew (Author, http://id.loc.gov/vocabulary/relators/aut)
Corporate Authors: American Council of Learned Societies, De Gruyter
Format: Book
Language:English
Published: Berkeley : University of California Press, 2010
Berkeley : c2010
Berkeley : [2010]
Berkeley, CA : [2010]
Series:ACLS Fellows' Publications
ACLS Fellows' Publications
ACLS Humanities E-Book (Series)
ACLS Humanities E-Book
Subjects:
1800-1999
19th century
20th century
Motion pictures > History > 19th century > Japan
Motion pictures > Japan > History > 19th century
Motion pictures > Japan > History > 20th century
ART > Film & Video
History
Motion pictures
PERFORMING ARTS > Film & Video > General
PERFORMING ARTS > Film & Video > Reference
Japan
Pure Film Movement
Electronic books
Dictionaries
History > UNAUTHORIZED
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100 1 |a Gerow, Aaron Andrew  |1 http://viaf.org/viaf/89846817/ 
100 1 |a Gerow, Aaron Andrew 
100 1 |a Gerow, Aaron Andrew,  |e author  |4 http://id.loc.gov/vocabulary/relators/aut 
245 1 0 |a Visions of Japanese Modernity :  |b Articulations of Cinema, Nation, and Spectatorship, 1895-1925 
246 3 0 |a Articulations of cinema, nation, and spectatorship, 1895-1925 
260 |a Berkeley :  |b University of California Press,  |c 2010 
260 |a Berkeley :  |b University of California Press,  |c c2010 
264 1 |a Berkeley :  |b University of California Press,  |c [2010] 
264 1 |a Berkeley, CA :   |b University of California Press,   |c [2010] 
264 4 |c ©2010 
300 |a 1 online resource (339 pages) 
300 |a 1 online resource (344 pages) 
300 |a 1 online resource (xiii, 323 pages) :  |b illustrations 
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504 |a Includes bibliographical references (pages 289-301) and index 
504 |a Includes bibliographical references and index 
505 0 |a Visions of Japanese Modernity; Contents; List of Illustrations; Acknowledgments; Introduction; 1. The Motion Pictures as a Problem; 2. Gonda Yasunosuke and the Promise of Film Study; 3. Studying the Pure Film; 4. The Subject of the Text: Benshi, Authors, and Industry; 5. Managing the Internal; Conclusion: Mixture, Hegemony, and Resistance; Notes; Selected Bibliography; Index 
505 0 0 |t Frontmatter --   |t Contents --   |t Illustrations --   |t Acknowledgments --   |t Introduction --   |t 1. The Motion Pictures as a Problem --   |t 2. Gonda Yasunosuke and the Promise of Film Study --   |t 3. Studying the Pure Film --   |t 4. The Subject of the Text --   |t 5. Managing the Internal --   |t Conclusion --   |t Notes --   |t Selected Bibliography --   |t Index 
506 |a Restricted for use by site license 
520 |a Japan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the Pure Film Movement, changed not only the way films were made, but also how they were conceived. Looking closely at the work of critics, theorists, intellectuals, benshi artists, educators, police, and censors, Gerow finds that this trend established a way of thinking about cinema that would reign in Japan for much of the twentieth century 
520 |a "Visions of Japanese Modernity is the single best account of the formation of Japanese cinema. Deftly drawing on film discourses, regulations, and exhibition practices, it brilliantly brings into focus one of the most exuberant and contested moments in the history of cinema. It not only sets new standards for film history but also plants the seeds for a counterhistory to cinema as such."Thomas LaMarre, author of The Anime Machine: A Media Theory of Animation "In this landmark study, Aaron Gerow richly demonstrates the vibrancy of Japanese film culture as no book has done befor 
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538 |a Mode of access: Internet via World Wide Web 
546 |a In English 
588 |a Description based on print version 
588 0 |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Apr 2020) 
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