To illustrate the changing concepts of self and identity, he then provides an in-depth analysis of a 1988 film by Matsumoto Toshio, called Dogura Magura. In chapter One the author introduces notions of the Japanese self and shifting identity, supporting his argument with quotes from authorities such as Karatani Kōjin, Tsurumi Kazuko and others. Iles provides an extremely well informed and incisive analysis of the social background, tracing the impact of Japan’s rapid urbanisation and modernisation on the Japanese psyche and the ensuing drastic readjustment of cultural values. In order to discuss his chosen range of films in depth, Dr. Furthermore, he sets out to map out and describe a period that has not been studied yet in a systematic way, namely the mid-eighties of the last century up to the present. Timothy Iles has the great advantage of being an expert Japanologist and at the same time being extremely well versed in comparative and theoretical approaches to film. However, one still finds serious misinterpretations in the work of otherwise impeccably equipped film critics. Western film theoreticians dealing with Japan can now avail themselves of an extensive body of translation and analysis, thereby avoiding some of the more obvious pitfalls which so far awaited the non-specialist observer. The classical period of Japanese film, namely the 1950s and ’60s of the last century have been studied and described in sufficient detail by scholars and film experts such as Donald Richie, Audie Bock, Keiko McDonald, David Dessser, Noël Burch, Isolde Standish, Abe Mark Nornes, Minaguchi Kiseko, Sato Tadao and others. įOREWORD There is a growing interest in Japanese film throughout the world. Ĭhapter Seven Animation and Identity: Drawing a Line Between the Real and the Ideal.
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Ĭhapter Six The Human/Post-human in Japanese Animation. Ĭhapter Five Travelling Toward the Self in Japanese Film.
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Ĭhapter Four Horror, Thriller, Suspense: “Who Are You?”. Ĭhapter Two Problems of Communication, Identity, and Gendered Social Construction in Contemporary Japanese Cinema: the Look and the Voice. Ĭhapter One Contextualising Identity in Contemporary Japanese Film. Liman Professor Emeritus, University of Toronto, Otemae University. printed in the netherlandsĬONTENTS Foreword, by Dr. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. In cases where these efforts have not been successful the publisher welcomes communications from copyright holders, so that the appropriate acknowledgements can be made in future editions, and to settle other permission matters. Brill has made all reasonable efforts to trace all right holders to any copyrighted material used in this work. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. ISSN 0925-6512 ISBN 978 90 04 17138 1 Copyright 2008 by Koninklijke Brill NV, Leiden, The Netherlands.
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30) Includes bibliographical references and index.
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Library of Congress Cataloging-in-Publication Data Iles, Timothy, 1961– The crisis of identity in contemporary Japanese film : personal, cultural, national / by Timothy Iles. On the cover: A group of young people leaving an impromptu street concert near the Meiji Shrine in Tokyo’s Harajuku ward. The Crisis of Identity in Contemporary Japanese Film Personal, Cultural, National The Crisis of Identity in Contemporary Japanese Filmīrill’s Japanese Studies Library Edited by