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Visions of Japanese Modernity
Aaron Gerow
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University of California Press 
Geisteswissenschaften, Kunst, Musik / Theater, Ballett
Beschreibung
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.
Kundenbewertungen
1895, 20th century japan, national identity, censors, film concepts, film criticism, mizoguchi, modern japan, pure film movement, theorists, japanese film, benshi artists, kurosawa, educators, transformation of film, development of cinema, 1925, film discourse, japan, film critics, japanese culture, japanese intellectuals, japanese cinema, ozu, turn of the century, cultural identity, japanese police, modern history, engaging, political, film history, aesthetics