The Flash of Capital: Film and Geopolitics in JapanDuke University Press, 4 lis 2002 - 330 The Flash of Capital analyzes the links between Japan’s capitalist history and its film history, illuminating what these connections reveal about film culture and everyday life in Japan. Looking at a hundred-year history of film and capitalism, Eric Cazdyn theorizes a cultural history that highlights the spaces where film and the nation transcend their customary borders—where culture and capital crisscross—and, in doing so, develops a new way of understanding historical change and transformation in modern Japan and beyond. Cazdyn focuses on three key moments of historical contradiction: colonialism, post-war reconstruction, and globalization. Considering great classics of Japanese film, documentaries, works of science fiction, animation, and pornography, he brings to light cinematic attempts to come to terms with the tensions inherent in each historical moment—tensions between the colonizer and the colonized, between the individual and the collective, and between the national and the transnational. Paying close attention to political context, Cazdyn shows how formal inventions in the realms of acting, film history and theory, thematics, documentary filmmaking, and adaptation articulate a struggle to solve implacable historical problems. This innovative work of cultural history and criticism offers explanations of historical change that challenge conventional distinctions between the aesthetic and the geopolitical. |
Spis treści
| 1 | |
Film Capital Transformation | 15 |
Nation Narrative Capital | 52 |
Origin Nation Aesthetic | 88 |
Structure Agent Amateur | 129 |
Totality Reality Culture Films of History | 167 |
Canon Body Geopolitics | 204 |
Epilogue | 255 |
Notes | 263 |
References | 295 |
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acting actors adaptation aesthetic amateur argue benshi body camera capitalist chapter colonial crisis critical crucial Danjuro Desser director discourse documentary dominant Donald Richie economic Eiga eiga-ka emerged example Film and Capitalism film’s filmmakers Fredric Jameson genbun global Haneda Hara historiography history of Japanese Ibid Ichikawa Kon ideology Imamura Imamura Shohei individual industry Iwasaki Japa Japan Japanese capitalism Japanese cinema Japanese film history kabuki Kamei Karatani Kurosawa logic markets Meiji ment Momijigari movement narrative nation-state nese Nihon Nizaemon Noriko Ogawa Okuzaki Omocha original Osanai Osanai Kaoru Oshima Page of Madness political pornography problem produced Prokino question Rampo reality culture relation representation represented Richie and Anderson Sasuke Sato scene screen Shindo Shochiku shosetsu shot Shunkin Shunkinsho social Somiya structure Tanizaki Junichiro Tetsuo theater theory tion Tokyo trans transformations translation U.S.-Japan Security Treaty University Press utopian viewer Western writes