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Re-Viewing the Past : the Uses of History in the Cinema of Imperial Japan.

Author: Seán D O'Reilly
Publisher: New York : Bloomsbury Academic & Professional, 2018.
Edition/Format:   eBook : Document : EnglishView all editions and formats
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Genre/Form: Electronic books
Additional Physical Format: Print version:
O'Reilly, Seán D.
Re-Viewing the Past : The Uses of History in the Cinema of Imperial Japan.
New York : Bloomsbury Academic & Professional, ©2018
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Seán D O'Reilly
ISBN: 9781501336041 1501336045
OCLC Number: 1043637969
Description: 1 online resource (321 pages)
Contents: Cover; Half Title; Title; Copyright; Dedication; Contents; Acknowledgments; A Note on Copyright and Name Order; Introduction; Why analyze popular history films from Japan?; What each chapter seeks to address; Popular culture and the culture industry: Theoretical underpinnings; History as event: The Bakumatsu; 1 Valorizing the villains: The first Bakumatsu boom and 1927's Sonnō jōi; Historical resentment and the social function of the Bakumatsu boom; Sonnō jōi and the changing mythologies of the Bakumatsu; Close analysis: The assassination scene, minutes 98:58 to 100:14 The uses of revisionism2 History as nonsense: Historical parodies of the Bakumatsu period; The king of comedy: Enomoto "Enoken" Ken'ichi; Bakumatsu as nonsense: Enoken Plays Kondō Isami; Kondō as parody of Bakumatsu history-and the period-film genre; Comedic precursors: The Yaji Kita film trilogy; Laughing at the patriots: Revering the Emperor; Inspired by Hollywood? Behind the Front; The uses of comedy; 3 Serial history: Kurama Tengu; Presentational heroes, intertextual stars; Kurama Tengu films from the late 1920s; Shifting the target audience: Kurama Tengu in the late 1930s The most popular Kurama Tengu film of the war: Itō Daisuke's adaptationComparing Itō's version to other 1940s Kurama Tengu films; The uses of Kurama Tengu; 4 Consuming hate-the-enemy history; The Anglo-Satsuma War on film: The Pirates' Flag Is Blasted Away; Film and empire: Signal Fires over Shanghai; The uses of ambiguity; 5 Romancing history; Armed and dangerous: The Woman Who Wields a Sword; The late-1930s model of historical femininity: Flowers Have Fallen; The early-1943 model of historical femininity: Kantarō of Ina Love over duty: Outa as true protagonist of Chō ji the Famous SculptorSlapstick in Chōji the Famous Sculptor; The politics: Analysis of Kusakabe "killing" Vairocana, minutes 53:52 to 56:25; The romance: Analyzing the climax of the film, minutes 66:12 to 68:50; The victory of love: Outa's motivation; Vengeful virtue: A woman's vendetta in Bijomaru the Famous Sword; The uses of romance; Epilogue: Transwar Japan; Beyond 1945: Bakumatsu films and transwar Japan; A period film with a buzz cut: The Last Expulsionist Party; Glossary of Key Abbreviations and Terms; Bibliography; Primary Sources Asahi shinbunKokusai eiga shinbun (The International Motion Picture Trade Paper); Eiga junpō; Eiga ken'etsu jihō; Kinema junpō; Kinema shūho; Nippon eiga; Chirashi (film handbills); Ito Daisuke bunko (held in the archives of the Museum of Kyoto); Shin eiga; Miscellaneous; Makino Collection (Starr Library, Columbia University); Secondary Literature; Filmography; Index

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"O'Reilly re-views the films produced in transwar Japan through a unique analytical lens. The result is brisk and brilliant; he deciphers an intricate process whereby popular attitudes toward Read more...

 
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