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2007, World Cinema's 'Dialogues' with Hollywood, ed. Paul Cooke
2017
A paper which discusses Kurosawa Akira's use of traditional Japanese archetypes, Hollywood codes of representation, and his own original style elements in one sequence of Yojimbo.
Daito Bunka University, Graduate School of Asian Area Studies Journal (大東アジア学論集), 2022
This essay explores representations of Japanese contemporary society in a trilogy of Hollywood films spanning a period of 46 years: Sayonara (1957), Black Rain (1989), and Lost in Translation (2003). By performing a close reading of the central themes, characters, and norms presented in these works, it is clearly observable that each film locates Japan and the ideas of Japaneseness within a very particular locus and frame. From such a standpoint it is easy to see that a substantive shift has occurred over time in how Japan and the concept of Japaneseness are both depicted and interpreted by America through Hollywood, if not by Japan itself. In this trilogy, this shift has largely been influenced by perceived or relative distances between the two cultures (American and Japanese), and places the films in the loci of: acceptance, rejection, and ambivalence. Each of the three films are taken individually and in turn, annotated, read, and presented with commentary so as to establish their relative position as a singular text. Following this there follows a brief discussion where the trilogy are compared, contrasted, and examined as a collective body of work on a given theme (Japan) over a longitudinal time-frame. Finally, this essay ends with concluding remarks and comments which examine the core constructs presented in these films against a backdrop of contemporary Japanese society and notions of Japanese cultural identity.
African and Asian Studies, 1984
Considers how the word was conceived as a means of controlling the unruly cinematic image through such forms as novelization, film criticism, and screenwriting.
Arts
Since the Western “discovery” of Japanese cinema in the 1950s, there has been a tendency among both Film Studies and Japanese Studies scholars to draw on essentialist visions of Japanese Cinema, understating its uniqueness as a consequence of its isolation from the rest of the world [...]
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