Killers, Clients and Kindred Spirits

The Taboo Cinema of Shohei Imamura
Herausgeber: Coleman, Lindsay; Desser, David

• Gebundenes Buch

Produktbeschreibung

A thorough exploration of the work of one of Japan's most controversial directors The only Japanese director to have won the Palme d'Or from Cannes more than once, and second only to Ozu Yasujiro in the number of times he has won the prestigious Kinema Jumpo Best One award, the late Imamura Shohei was one of Japan's leading and most controversial film directors. This book is one of the first to study all of Imamura's major films alongside his television and theatrical documentaries, focusing on his major themes and concerns. By giving shape to Imamura's career, the book positions him as a stylistic innovator as well as an ethnographic investigator into Japanese culture and tradition; the preeminent examiner of the hidden, barely repressed underpinnings of Japanese society. Professor David Desser is Professor Emeritus of Cinema Studies at the University of Illinois and Dean of Anaheim University Akira Kurosawa School of Film. Lindsay Coleman is a writer and educator, and is completing his PhD thesis at the University of Melbourne Cover image: Shoichi Ozawa in The Pornographers (1966 Japan), directed by Shohei Imamura © East-West Classics/Photofest Cover design: [EUP logo] edinburghuniversitypress.com ISBN 978-1-4744-1181-3 Barcode

Produktdetails

• Verlag: Edinburgh University Press
• Seitenzahl: 360
• Erscheinungstermin: 14. Mai 2019
• Englisch
• Abmessung: 234mm x 157mm x 23mm
• Gewicht: 635g
• ISBN-13: 9781474411813
• ISBN-10: 1474411819
• Artikelnr.: 54551189

Autorenporträt

Lindsay Coleman is an independent film producer, and is completing his phD thesis at the University of Melbourne Professor David Desser is Professor Emeritus of Cinema Studies at the University of Illinois and Dean of Anaheim University Akira Kurosawa School of Film

Inhaltsangabe

Chapter 1: Introduction; Chapter 2: The Making of An Auteur: The Early
Films (1958-1959), Jennifer Coates; Section I: Killers; Chapter 3:
Confronting America: Pigs and Battleships and the Politics of US Bases in
Postwar Japan, Hiroshi Kitamura; Chapter 4: Insect Men and Women: Gender,
Conflict and Problematic Modernity in Intentions of Murder, Adam Bingham;
Chapter 5: Hidden in Plain Sight: The False Leads and True Mysteries of
Vengeance Is Mine, John Berra; Chapter 6: The Eel: Trauma Cinema, David
Desser; Section II: Clients; Chapter 7: The Insect Woman, or: The Female
Art of Failure, Michael Raine; Chapter 8: The Obscene in the Everyday: The
Pornographers, Lindsay Coleman; Chapter 9: Shohei Imamura's Profound Desire
for Japan's Cultural Roots: Critical Approaches to Profound Desires of the
Gods, Mats Karlsson; Chapter 10: 'Products of Japan': Karayuki-san, The
Making of a Prostitute, Joan Mellen; Chapter 11: The Female Body as
Transgressor of National Boundaries: The History of Postwar Japan as Told
by a Bar Hostess, Bianca Briciu; Part III: Kindred Spirits; Chapter 12:
Better off Being Bacteria: Adaptation and Allegory in Dr Akagi, Lauri
Kitsnik; Chapter 13: Time out of Joint: Shohei Imamura and the Search for
an 'Other' Japan, Bill Mihalopoulos; Chapter 14: Promotional Discourses and
the Meanings of The Ballad of Narayama, Rayna Denison; Chapter 15: Boundary
Play: Truth, Fiction, and Performance in A Man Vanishes, Diane Lewis;
Chapter 16: Why Not? - Imamura, Nietzsche and the Untimely, David Deamer;
Chapter 17: Kuroi ame: An Anthropology of Suffering, Dolores Martinez;
Chapter 18: The Symbolic Function of Water, Tim Iles; Notes on Contributors