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The Japanese Cinema Book provides a new and comprehensive survey of one of the world's most fascinating and widely admired filmmaking regions. In terms of its historical coverage, broad thematic approach and the significant international range of its authors, it is the largest and most wide-ranging publication of its kind to date.

Ranging from renowned directors such as Akira Kurosawa to neglected popular genres such as the film musical and encompassing topics such as ecology, spectatorship, home-movies, colonial history and relations with Hollywood and Europe, The Japanese Cinema Book presents a set of new, and often surprising, perspectives on Japanese film.

With its plural range of interdisciplinary perspectives based on the expertise of established and emerging scholars and critics, The Japanese Cinema Book provides a groundbreaking picture of the different ways in which Japanese cinema may be understood as a local, regional, national, transnational and global phenomenon.

The book's innovative structure combines general surveys of a particular historical topic or critical approach with various micro-level case studies. It argues there is no single fixed Japanese cinema, but instead a fluid and varied field of Japanese filmmaking cultures that continue to exist in a dynamic relationship with other cinemas, media and regions.

The Japanese Cinema Book is divided into seven inter-related sections:

· Theories and Approaches

· * Institutions and Industry

· * Film Style

· * Genre

· * Times and Spaces of Representation

· * Social Contexts

· * Flows and Interactions

Hideaki Fujiki is Professor of Cinema Studies and Japanese Studies at Nagoya University, Japan. He is the author of Making Personas: Transnational Film Stardom in Modern Japan and his essays have appeared in Stephanie Dennison and Song Hwee Lim (eds.) Remapping World Cinema: Identity, Culture and Politics in Film, Cinema Journal, Japan Forum, Review of Japanese Culture and Society, and Iconics, and he has contributed to the Oxford Handbook of Japanese Cinema.

Alastair Phillips is Professor of Film Studies at the University of Warwick, UK. He is the author of City of Darkness, City of Light: Émigré Filmmakers in Paris 1929-1939 and Rififi: A French Film Guide. He is the co-author of 100 Film Noirs (BFI Screen Guides) and the co-editor of Journeys of Desire: European Actors in Hollywood; Japanese Cinema: Texts and Contexts and A Companion to Jean Renoir. His articles on international film history and aesthetics have appeared in numerous journals and books. He is an editor of the journal Screen and serves on the Editorial Advisory Boards of The Journal of Japanese and Korean Cinema and the BFI Film Classics series.

Introduction
Japanese Cinema and Its Multiple Perspectives
Hideaki Fujiki (Nagoya University, Japan) and Alastair Phillips (University of Warwick, UK)
Part One: Theories and Approaches
1. Early Cinema
Difference, Definition and Japanese Film Studies
Aaron Gerow (Yale University, USA)
2. Authorship
Author, Sakka, Auteur
Alex Jacoby (Oxford Brookes University, UK)
3. Spectatorship
The Spectator as Subject and Agent
Hideaki Fujiki (Nagoya University, Japan)
4. Film Criticism
Soviet Montage Theory and Japanese Film Criticism
Naoki Yamamoto (University of California, Santa Barbara, USA)
5. Narrative
Multi-viewpoint Narrative: From Rashomon (1950) to Confessions (2010)
Kosuke Kinoshita (Gunma Prefectural Women's University, Japan)
6. Gender and Sexuality
Feminist Film Scholarships: Dialogue and Diversification
Hikari Hori (Toyo University, Japan)
Part Two: Institutions and Industry
7. The Studio System
The Japanese Studio System Revisited
Hiroyuki Kitaura (Kaichi International University, Japan)
8. Exhibition
Screening Spaces: A History of Japanese Film Exhibition
Manabu Ueda (Kobe Gakuin University, Japan)
9. Censorship
Censorship as Education: Film Violence and Ideology
Rachael Hutchinson (University of Delaware, USA)
10. Technology
Sound and Intermediality in 1930s Japanese Cinema
Johan Nordström (Tsuru University, Japan)
11. Film Festivals
Engasai Inside Out: Japanese Cinema and Film Festival Programming
Ran Ma (Nagoya University, Japan)
12. Stardom
Queer Resonance: The Stardom of Miwa Akihiro
Yuka Kanno (Doshisha University, Japan)
13. Experimental Cinema
Forms, Spaces and Networks: A History of Japanese Experimental Film
Julian Ross (Leiden University, The Netherlands)
14. Transmedial Relations
Manga at the Movies: Adaptation and Intertextuality
Rayna Denison (University of East Anglia, UK)
15. The Archive
Screening Locality: Japanese Home Movies and the Politics of Place
Oliver Dew (UK)
Part Three: Film Style
16. Cinematography
The Trans-pacific Work of Japanese Cinematographers
Daisuke Miyao (University of California, San Diego, USA)
17. Acting
Spectral Bodies: Matsui Sumako and Tanaka Kinuyo in The Love of Sumako the Actress (1947)
Chika Kinoshita (Kyoto University, Japan)
18. Set Design
Colour and Excess in Undercurrent (1956)
Fumiaki Itakura (Kobe University, Japan)
19. Music
When the Music Exits the Screen: Sound and Image in Japanese Sword Fight Films
Yuna Tasaka (Belgium)
Part Four: Genre
20. Period Drama
The Duplicitous Topos of Jidaigeki
Philip Kaffen (The University of North Carolina at Charlotte, USA)
21. The Horror Film
The Ghosts of Kaiki Eiga
Michael E. Crandol (Leiden University, The Netherlands)
22. Anime
Compositing and Switching: An Intermedial History of Japanese Anime
Thomas Lamarre (McGill University, Canada)
23. Melodrama
Melodrama, Modernity and Displacement: That Night's Wife (1930)
Ryoko Misono (with Hideaki Fujiki and Alastair Phillips)
24. The Musical
Heibon and the Popular Song Film
Michael Raine (Western University, Canada)
25. The Yakuza Film
The Yakuza Film: A Genre 'Endorsed by the People'
Jennifer Coates (University of Sheffield, UK)
26. Documentary
'Filling Our Empty Hands': Ogawa Productions and the Politics of Subjectivity
Ayumi Hata (Japan)
Part Five: Time and Spaces of Representation
27. Ecology
Toxic Interdependencies: 3/11 Cinema
Rachel DiNitto (University of Oregon, USA)
28. Rural Landscape
The Cinematic Countryside in Japanese Wartime Filmmaking
Sharon Hayashi (York University, Canada)
29. The Home
Separations and Connections: The Cinematic Homes of the Showa 30s
Woojeong Joo (Nagoya University, Japan)
30. The City
Tokyo 1958
Alastair Phillips (University of Warwick, UK)
Part Six: Social Contexts
31. Empire
Cinematic Dualities: Shanghai Filmmaking in the Era of the Japanese Occupation
Ni Yan (Japan Institute of Moving Image, Japan)
32. The Occupation
Pedagogies of Modernity: CIE and USIS Films about the United Nations
Yuka Tsuchiya (Kyoto University, Japan)
33. Social Protest
Japanese Student Movement Cinema: A Dialogic Approach
Masato Dogase (Nagoya University, Japan)
34. Minority Cultures
Whose Song Is It? Korean and Women's Voice in Oshima Nagisa's Sing a Song of Sex (1967)
Mika Ko (Hosei University, Japan)
35. Globalisation
Japanese Cultural Globalisation at the Margins
Cobus van Staden (South African Institute of International Affairs, South Africa)
Part Seven: Flows and Interactions
36. Japanese Cinema and its Post-Colonial Histories
Technologies of Co-production: Japan in Asia and the Cold War Production of Regional Place
Stephanie DeBoer (Indiana University, USA)
37. Japanese Cinema and Hollywood
Frontiers of Nostalgia: The Japanese Western in the Postwar Era
Hiroshi Kitamura (College of William and Mary, USA)
38. Japanese Cinema and its Peripheries
Japan and Okinawa and the Politics of Exchange
Andrew Dorman (UK)
39. Japanese Cinema and Europe
A Constellation of Gazes: Europe and the Japanese Film Industry
Yoshiharu Tezuka (Komazawa University, Japan)
40. Transnational Remakes and Adaptations
Casablanca Karaoke: The Program Picture as Marginal Art in 1960s Japan
Ryan Cook (Emory University, USA)
Select Bibliography
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