Among Asian countries--where until recently documentary filmmaking was largely the domain of central governments--Japan was exceptional for the vigor of its nonfiction film industry. And yet, for all its aesthetic, historical, and political interest, the Japanese documentary remains little known and largely unstudied outside of Japan. This is the first English-language study of the subject, an enlightening close look at the first fifty years of documentary film theory and practice in Japan. Beginning with films made by foreigners in the nineteenth century and concluding with the first two films made after Japan's surrender in 1945, Abe Mark Nornes moves from a "prehistory of the documentary, " through innovations of the proletarian film movement, to the hardening of style and conventions that started with the Manchurian Incident films and continued through the Pacific War. Nornes draws on a wide variety of archival sources--including Japanese studio records, secret police reports, government memos, letters, military tribunal testimonies, and more--to chart shifts in documentary style against developments in the history of modern Japan.
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以战争为界,将日本的纪录片分成两个五十年,除了描述政治的大语态,也着重了公共领域,hidden space中的动态变化,同时提醒存在浪漫化抵抗的可能。本书到论述到60年代为止,但是正如结尾所言,这帮助我理解了原一男作品的重要性。
评分读了1931-45年的部分,因wartime journalism兴起的纪录片、1939年Film Law颁布后对电影的完全控制、战争宣传纪录片中的军队/敌人/亚洲殖民地和被殖民者/皇道意识形态...
评分读了1931-45年的部分,因wartime journalism兴起的纪录片、1939年Film Law颁布后对电影的完全控制、战争宣传纪录片中的军队/敌人/亚洲殖民地和被殖民者/皇道意识形态...
评分读了1931-45年的部分,因wartime journalism兴起的纪录片、1939年Film Law颁布后对电影的完全控制、战争宣传纪录片中的军队/敌人/亚洲殖民地和被殖民者/皇道意识形态...
评分以战争为界,将日本的纪录片分成两个五十年,除了描述政治的大语态,也着重了公共领域,hidden space中的动态变化,同时提醒存在浪漫化抵抗的可能。本书到论述到60年代为止,但是正如结尾所言,这帮助我理解了原一男作品的重要性。
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