Tokugawa Musei: fan favorite, vernacular modernist, and informal theorist of benshi performanceĭigital archive: recreating the multisensory experience of film exhibitions and preserving ephemeraġ3 Between silence and sound: the liminal space of the Japanese “sound version” Utsushi-e performance in the nineteenth centuryġ2 “Inter-mediating” global modernity: benshi film narrators, multisensory performance, and fan culture Intermedia as an approach: tracing genealogies across disciplines and mediaġ1 Utsushi-e: Japanese magic lantern performance as pre-cinematic projection practice Solo animation in the twenty-first centuryġ0 Media models of “amateur” film and manga Serialized television drama Smoke and the Japan Screen Actors Associationĩ Solo animation in Japan: empathy for the drawn body Ikebe Ryo’s The Man in Macao and Shintoho’s bankruptcy How do we judge the production of kaiju films through the Export Promotion Association?Ĩ “Fugitives” from the studio system: Ikebe Ryō, Sada Keiji, and the transition from cinema to television in the early 1960s The end of the kaiju film boom and dissolution of Nikkatsu and Daiei Questions of industry: critical studies of regulatory frameworks, creative labor, and distributive networksħ Kaiju films as exportable content: reassessing the function of the Japanese Film Export Promotion Associationīackground: demands from within the film industry and speculations on overseas marketsĬharacteristics of “export-appropriate films”Ĭriticism of the export promotion association and the end of the financing system The optical unconscious as manifesto: a conclusion Post-war film: humanism and reflexive participation
The pre-war roots of kagaku eiga: captioning, imaging, and allegorizing The optical unconscious: accessing and reporting on science to the masses The relationship between Nakai and subsequent film theoriesĬonclusion: making sense of Nakai’s film theoryĦ Geysers of another nature: the optical unconscious of the Japanese science film
The connection between Nakai and other contemporary film theories (1920s–1930s) The relationship between Nakai’s film theory and the theories that pre-dated him Internal debates on Bolshevization and the mobile film unitĤ When Marnie Was There: female friendship film and the genealogy of queer girls’ cultureĥ Making Sense of Nakai Masakazu’s Film Theory, “Kino Satz” Negotiation over identification: heart of darkness in The Red Light Military Baseįrom political sensationalism to allegorical monstersģ Home movies of the revolution: proletarian filmmaking and counter-mobilization in interwar Japan The Red Light Military Base as an “anti-American film”: the American response Fuji and the Lenin cap: identity crisis in Taniguchi Senkichi’s Akasen kichi (The Red Light Military Base, 1953)
The internal other within the nation stateĢ Beyond Mt. The imperial metropolis: the fault lines of modern urban space Funding, illustrations, research assistanceĭecentering classical cinema: modernity, translation, and mobilizationġ Suspense and border crossing: Ozu Yasujirō’s crime melodramaīorders within the modern city: That Night’s Wife
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