Japan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the 'Pure Film Movement', changed not only the way films were made, but also how they were conceived. Looking closely at the work of critics, theorists, intellectuals, benshi artists, educators, police, and censors, Gerow finds that this trend established a way of thinking about cinema that would reign in Japan for much of the twentieth century.
具体描述
读后感
评分
评分
评分
评分
用户评价
早期日本电影史中最喜欢的一本，写得好，观点好，资料丰富，方法论上也有贡献。
评分早期日本电影史中最喜欢的一本，写得好，观点好，资料丰富，方法论上也有贡献。
评分关于日本早期电影的话语及现代性的研究，理论基于福柯和布尔迪厄，电影之艺术特殊地位与其被辨别成“问题”相互缠绕；审查法以管理内在性的方式形塑了现代主体；两种现代性的博弈；讨论电影审查的视角上蛮有启发的。
评分日本版《銀幕豔史》@@
评分早期日本电影史中最喜欢的一本，写得好，观点好，资料丰富，方法论上也有贡献。
相关图书
本站所有内容均为互联网搜索引擎提供的公开搜索信息，本站不存储任何数据与内容，任何内容与数据均与本站无关，如有需要请联系相关搜索引擎包括但不限于百度，google,bing,sogou 等
© 2025 book.wenda123.org All Rights Reserved. 图书目录大全 版权所有