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Cultural Politics around East Asian Cinema: 1939-2018

Noriko SUDO and Takeshi TANIKAWA

B5変上製・248頁

ISBN: 9784814002139

発行年月: 2019/02

記述言語: 英語

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内容

This study examines the interdependent relationships between the film industry and the state in East Asia, treating films as political economic products, mixtures of government policy and industrial motives, rather than mere works of art or media commodities. We examine the East Asian film industries from the 1930s to the 2010s pursuing their own economic and political goals by cooperating, negotiating and conflicting with states. Through studies of national film policies, film industry strategies and cultural-political influences on audience receptivity, this book reveals how films are formed by the interaction of the state, the film companies and audiences.

プロフィール

Yanli HAN
Associate Professor at the Graduate School of Arts and Sciences, Tokyo University. She specializes in Asian film history and Chinese language films. Her major publications include “Beyond National Cinema: Overseas Chinese Cinema and National Identity”, Koyosha, 2014. “Beyond ‘Japanese Cinema’ ”, Kurosawa Kiyoshi ed., Japanese Cinema is Living No.8 (January 2011), Iwanami Publisher, pp. 165–178.
“The Yellow Face behind the Camera”, in Fujii Jinshi ed., A Collection of Essays about Modern Hollywood Cinema (April 2008), Jinbunsyoin Publisher, pp. 121–143, 2007.

Benjamin JOINAU
Doctor of Cultural Anthropology specialized in Korean Studies. He is an associate researcher of the Center of Korean Studies (CRC) at EHESS, Paris, and assistant professor at Hongik University, Seoul. He has been living and working in South Korea since 1994. His Ph.D. thesis has analyzed the regimes of otherness in Korean cinema. Through the hermeneutics of cinema and now of urban materials, he is exploring representations and practices in the Korean public sphere (regimes of visibility/invisibility in cityscapes, urban agriculture micro-practices, semiology of spatial forms, etc.). He has published several articles and books in French, English and Korea. Personal Website: www. benjaminjoinau.com.

Atsuko KATO
Part-time lecturer at Gakushuin Women’s College, specializing in Japanese modern history. She is the author of Sododin taisei to eiga (Tokyo: Shinyosha, 2003). Her most recent article is “Rebuilding of the Censorship System in the Drafting Process of the Film Law,” Media History, Vol. 28, 2010.

Tomoya KIMURA
Part time lecturer at Tamagawa University and Meiji Gakuin University, specializing in animation studies, especially at the point of industrial history. His major refereed paper is Shougyou animation seisaku ni okeru
“souzou” to “roudou”: Touei-Douga kabushikigaisya no rousihunsou kara (ed., in Japanese, Creation and labor in the production of commercial animation film: The trouble between labor and management in Toei animation studio, Socio-Culture Studies, Vol. 18, The Association for the Socio-Culture, 2016).

Mamie MISAWA
Professor in the Department of Chinese Language and Culture, College of Humanities and Sciences, Nihon University. She has published two monographs: The Screen under Colonial Rule: A study on the movie policy of the Colonial Government of Taiwan (Taipei: Qianwei, 2001, Chinese), and Between “the Empire of Japan” and “the Motherland China,” Collaboration and border-crossing of Taiwanese film activists in the colonial period (Tokyo: Iwanami, 2010, Japanese; Taipei: National Taiwan University Press, 2012, Chinese), one co-edited volume: Radio, Movie, Television: Inter-relationship of audio-visual media in East Asia today (Tokyo: Seikyusha, 2012, Japanese), and one single edited volume: Propaganda Films in Colonial Taiwan: Research on Newly Discovered Films (Tokyo: University of Tokyo Press, 2017, Japanese). In English, she has written two chapters (Chapter 5 “The Production of Imperialized Bodies: Colonial Taiwan’s Film Regulations and Propaganda Films” and Chapter 6 “The National Anthem Film in the Early 1950s Taiwan”) in the book East Asian Transwar Popular Culture: Literature and Film from Taiwan and Korea edited by Pei-yin Lin and Su Yun Kim, forthcoming from Palgrave.

Noriko SUDO
Professor in the Faculty of Contemporary Social Studies, Media Course, Chikushi Jogakuen University. She specializes in cultural politics and media studies. She worked as a program director at NHK from 1991–1993 and as a freelance TV producer from 1993–2002. Her major publications include Jieitai Kyouryoku Eiga: Kyomo Ware Oozora ni Ari kara Meitantei Konan made (in Japanese, The JSDF Films: From Kyomo Ware Oozora ni Ari to Detective Conan, Otsuki Shoten, 2013), Higashi Ajia no Kurieitelivu Sangyo: Bunka no Poritikusu (ed., in Japanese, Creative Industries in East Asia: Politics of Cultures, Shinwasha, 2015), Manga Kenkyu Nyumon Ouyouhen (multi author collaboration, in Japanese, Introduction to Manga Studies Applied Version, Chapter 9 “Cultural Policies,” Gendai Shokan, 2018).

Takeshi TANIKAWA
Visiting professor of film history and popular culture studies at the Graduate School of Political Science, Waseda University (Tokyo), and a well-known freelance cinema journalist and film critic for more than two decades. After working for Nippon Herald Film Co. for eight years as publicity staff and marketing director, he has worked both in academia and journalism. His thesis won the prestigious First Kyoto Film Culture Award in 1999, which later become his dissertation for a PhD in sociology at Hitotsubashi University (2001) and was published by Kyoto University Press as American Films and the Occupation Policy (2002).
Dr. Tanikawa’s recent publications as author/editor include Border- crossing Popular Culture: From Li Xianglan to Takki (in Japanese, 2009), Spreading Subculture:Personalizing Passion and Healing Style Evolution (in Japanese, 2009), The Occupation-Period Periodical Materials Compendium: Popular Culture Series, Vol. 1–5 (in Japanese, 2008–2009), All About Post-WWII ‘Chushingura’ Films (in Japanese, 2013), Kouraiya Three Brothers and Their Movies (in Japanese, 2018). His current projects include Baseball and the Occupation of Japan: America’s Pastime as a Tool to Promote Social Values, forthcoming from McFarland & Co, Inc.

Youngjae YI
Researcher at Center for Cross Cultural Studies in Sungkyunkwan University, specializing in film studies and Asian film history. Her major publications are Teikoku Nihon no Chōsen eiga (in Japanese, Korean Cinema in Imperial Japan Teikoku Nihon no Chōsen eiga, Sangensha, 2013), Toransu/nashonaru akushon eiga: Reisenki Higashi Ajia no dansei shintai, bōryoku, māketto (in Japanese, Transnational Asia Action Film: Male Corporeality, Violence, and Market in the Cold War Era, University of Tokyo Press, 2016) and Modern Korea at the Crossroads between Empire and Nation (ed., in Korean, Checkwa hamke, 2011).

目次

Figures
Tables
Photos
List of Contributors

Introduction
Noriko Sudo

1 Film Control in the Japan Film Law (Eiga-ho)
Atsuko KATO

2 “Me-istic Nationalism” in Films Promoted by the Japan Self-Defense Forces: Focus on Midnight Eagle as an Example
Noriko SUDO

3 Collaboration between U.S. Film Industry and U.S. Government for Film Distribution in the Republic of China
Takeshi TANIKAWA

4 WWII Film Production in Chongqing: The Japanese Spy
Yanli HAN

5 Factors in the Establishment of the Animation Industry in Postwar Japan
Tomoya KIMURA

6 Virtuous and Depraved: Portrayals of Women in North Korean Cinema
Benjamin JOINAU

7 Dual Language, Dubbed Cinema: An Enlightened Colonial Subject in Homeless Angels
Youngjae YI

8 Double-edged National Imagery: From The Daughter of the Samurai to My Japan
Takeshi TANIKAWA

9 The Mysterious Popularity of Japanese Films in Taiwan in the 1950s and ’60s
Mamie MISAWA

Index
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