By Andrew Dorman
ISBN-10: 1137551593
ISBN-13: 9781137551597
ISBN-10: 1137551607
ISBN-13: 9781137551603
This ebook deals insightful research of cultural illustration in jap cinema of the early twenty first century. The effect of transnational creation practices on motion pictures similar to Dolls (2002), Sukiyaki Western Django (2007), Tetsuo: The Bullet Man (2009), and 13 Assassins (2010) is taken into account via textual and empirical research. the writer discusses contradictory sorts of cultural illustration – cultural concealment and cultural functionality – and their dating to either altering practices within the jap movie and the worldwide movie marketplace. Case stories take note of well known genres corresponding to J Horror and jidaigeki interval motion pictures, in addition to the paintings of popular filmmakers Takeshi Kitano, Takashi Miike, Shinya Tsukamoto and Kiyoshi Kurosawa.
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Additional info for Paradoxical Japaneseness: Cultural Representation in 21st Century Japanese Cinema
Example text
Both Mongol and Tokyo! avoid the easy categorization of national cinema because their transnational production histories tell us more about the culturally decentred nature of contemporary film production rather than anything substantially national. The national identities of film industries might be questioned in similar ways. Take Hollywood’s development in recent decades as an example. American film production utilizes an extensive infrastructure of locations and studio facilities that stretches far beyond the confines of a North American industry.
6). Cultural specificity has been profoundly affected by the widespread changes engendered by globalization. This raises questions about the relevance of distinctive nation states. For instance, the idea of self-sufficient film industries has been uprooted to some degree by the ‘transnationalization’ of cultural production practices. Yet, filmmakers, producers, studios, and film and cultural policy-makers adapt to the challenges posed by an amorphous global economy. Although globalization’s impact on national film industries has been acutely felt through international coproduction strategies, location production and financing from overseas sources, this does not necessarily result in the homogenization of distinctive film cultures.
24) to denote Japanese strategies of cultural concealment. The most intriguing example of this is the mukokuseki style of Japanese animation, one of the ‘three C’s’—consumer technologies, comics and cartoons, and computer games—identified by Iwabuchi in his discussion of Japanese cultural ‘odorlessness’: The three C’s I mentioned earlier are cultural artifacts in which a country’s bodily, racial, and ethnic characteristics are erased or softened. ’ Such non-Japanese-ness is called mukokuseki, literally meaning ‘something or someone lacking any nationality,’ but also implying the erasure of racial or ethnic characteristics or a context, which does not imprint a particular culture or country with these features.
Paradoxical Japaneseness: Cultural Representation in 21st Century Japanese Cinema by Andrew Dorman
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