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.
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well-written preface concerning the general evaluation of early Japanese film as well as its relevant studies. Using discursive study as the method, the author arguably put that the cinema is not a preexisting subject, but rather a concept born and shaped within divers discours.
评分well-written preface concerning the general evaluation of early Japanese film as well as its relevant studies. Using discursive study as the method, the author arguably put that the cinema is not a preexisting subject, but rather a concept born and shaped within divers discours.
评分早期日本電影史中最喜歡的一本，寫得好，觀點好，資料豐富，方法論上也有貢獻。
评分關於日本早期電影的話語及現代性的研究，理論基於福柯和布爾迪厄，電影之藝術特殊地位與其被辨彆成“問題”相互纏繞；審查法以管理內在性的方式形塑瞭現代主體；兩種現代性的博弈；討論電影審查的視角上蠻有啓發的。
评分日本版《銀幕豔史》@@
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