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.
Why Are the Japanese Titles of Shakespearean Films So Odd?
associated with Shakespeare and even show reluctance to use his name in their marketing. In Japanese cinemas, a rose cannot retain its name. Some Shakespearean films are released with completely different Japanese titles that prevent the audience from
Akira Kurosawa's Kagemusha (1980) and William Shakespeare's English History Plays (c. 1591–98)
production – production manager Yoshino Nobutaka asserted: ‘we want to bring out the “aesthetics of shadow” from its hidden place, understand it correctly and do our best to create Japanese cinema’. 24 In like manner, Kurosawa bases his narrative of history
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
Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer
career in this genre. Despite its artists and impact as an avant-garde oriented movie scene, the government always tried to censor the films that “threatened the hard-earned reputation of Japanese cinema from its 1950s “golden age” (93). Kirsten Cather
Kylie Message, Masaaki Morishita, Conal McCarthy, and Lee Davidson
.1515/9781400856114 Salomon , Harald . 2011 . Views of the Dark 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
explicitly anti-capitalist end – for example, I heard of sessions on Japanese Cinema, a reading course on Finnegan’s Wake , parkour, yoga and freeform performance events. According to David Brazil, it is the very for-its-own-sakeness, and thus the ‘a