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Daisuke Miyao

The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.

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Fern Thompsett

projects. The free universities I encountered hosted a vast range of classes, many of which tended more towards the ‘open-ended’ side of the spectrum than the explicitly anti-capitalist end – for example, I heard of sessions on Japanese Cinema, a reading

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Kylie Message, Masaaki Morishita, Conal McCarthy and Lee Davidson

Valley: Japanese Cinema and the Culture of Nationalism 1937–1945 . Wiesbaden : Harrassowitz Verlag . The Return of Curiosity: What Museums Are Good for in the Twenty-First Century Nicholas Thomas London: Reaktion Books, 2016 Short books are hot

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood and Paul Gordon Kramer

government always tried to censor the films that “threatened the hard-earned reputation of Japanese cinema from its 1950s “golden age” (93). Kirsten Cather describes this period when the government was eager in “Policing the Pinks.” However, the international