1895
1925
20th century japan
A01=Aaron Gerow
aesthetics
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Author_Aaron Gerow
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benshi artists
Category1=Non-Fiction
Category=APF
Category=ATF
censors
COP=United States
cultural identity
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development of cinema
educators
engaging
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film concepts
film criticism
film critics
film discourse
film history
japan
japanese cinema
japanese culture
japanese film
japanese intellectuals
japanese police
kurosawa
Language_English
mizoguchi
modern history
modern japan
national identity
ozu
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political
Price_€50 to €100
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pure film movement
softlaunch
theorists
transformation of film
turn of the century
Product details
- ISBN 9780520256729
- Weight: 680g
- Dimensions: 152 x 229mm
- Publication Date: 14 May 2010
- Publisher: University of California Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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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 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.
Aaron Gerow is Associate Professor of Japanese Cinema in the Film Studies Program and East Asian Languages and Literatures at Yale University. He is the author of Kitano Takeshi, A Page of Madness: Cinema and Modernity in 1920s Japan, and Reference Guide to Japanese Film Studies, coauthored with Abe Mark Nornes.
