ENGLISH

Re-Viewing the Past: The Uses of History in the Cinema of Imperial Japan

By Sean D. O’Reilly

Book information

Publisher
Bloomsbury Academic
Year
2017
ISBN
9781501336027, 9781501336058, 9781501336041
Language
english
Format
PDF
Filesize
41 MB (42486629 bytes)
Pages
\321
Time added
2023-05-22 02:15:36

Description

Title Description: Re-Viewing the Past: The Uses of History in the Cinema of Imperial Japan analyzes the complicated relationship between history films, audiences, reviewers and censors in Japan for the critically important years from 1925–1945. First contextualizing the history of the popular “Bakumatsu” period (1853–1868), the moment of Japan’s emergence as a modern nation, Sean O’Reilly paves the way for a reinterpretation of Japanese pre and postwar cinema. Setting a film in the Bakumatsu period offered ‘cultural breathing room’ to both filmmakers and viewers, offering a cinematic space where apolitical entertainment and now-forbidden themes like romance still reigned. Some filmmakers—and viewers—even conceived of these films as being a form of resistance against Japan’s growing militarism. Cover Half-title Title Copyright Dedication Contents Acknowledgments A note on copyright and name order Introduction Why analyze popular history films from Japan? What each chapter seeks to address Popular culture and the culture industry: Theoretical underpinnings History as event: The Bakumatsu 1. Valorizing the villains: The first Bakumatsu boom and 1927’s Sonno joi Historical resentment and the social function of the Bakumatsu boom 2. History as nonsense: Historical parodies of the Bakumatsu period The king of comedy: Enomoto “Enoken” Ken’ichi Bakumatsu as nonsense: Enoken Plays Kondo Isami Kondo as parody of Bakumatsu history—and the period-film genre Comedic precursors: The Yaji Kita film trilogy Laughing at the patriots: Revering the Emperor Inspired by Hollywood? Behind the Front The uses of comedy 3. Serial history: Kurama Tengu Presentational heroes, intertextual stars Kurama Tengu films from the late 1920s Shifting the target audience: Kurama Tengu in the late 1930s The most popular Kurama Tengu film of the war: Ito Daisuke’s adaptation Comparing Ito’s version to other 1940s Kurama Tengu films The uses of Kurama Tengu 4. Consuming hate-the-enemy history The Anglo-Satsuma War on film: The Pirates’ Flag Is Blasted Away Film and empire: Signal Fires over Shanghai The uses of ambiguity 5. Romancing history Armed and dangerous: The Woman Who Wields a Sword The late-1930s model of historical femininity: Flowers Have Fallen The early-1943 model of historical femininity: Kantaro of Ina Love over duty: Outa as true protagonist of Choji the Famous Sculptor Vengeful virtue: A woman’s vendetta in Bijomaru the Famous Sword The uses of romance Epilogue: Transwar Japan Beyond 1945: Bakumatsu films and transwar Japan A period film with a buzz cut: The Last Expulsionist Party Glossary of key abbreviations and terms Bibliography Filmography Index

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