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Promiscuous Media : Film and Visual Culture in Imperial Japan, 1926-1945 / Hikari Hori.

By: Material type: TextTextSeries: Studies of the Weatherhead East Asian Institute, Columbia UniversityPublisher: Ithaca, NY : Cornell University Press, [2018]Copyright date: 2017Description: 1 online resource (312 p.) : 23 b&w halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501709524
Subject(s): DDC classification:
  • 791.430952 23
LOC classification:
  • PN1993.5.J3 H67 2017
  • PN1993.5.J3 .H675 2017eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Illustrations -- Preface and Acknowledgments -- Introduction -- 1. Photography’s Aura -- 2. Contested Motherhood and Entertainment Film -- 3. The Politics of Japanese Documentary Film -- 4. The Dream of Japanese National Animation -- Epilogue -- Notes -- Bibliography -- Index
Summary: In Promiscuous Media, Hikari Hori makes a compelling case that the visual culture of Showa-era Japan articulated urgent issues of modernity rather than serving as a simple expression of nationalism. Hori makes clear that the Japanese cinema of the time was in fact almost wholly built on a foundation of Russian and British film theory as well as American film genres and techniques. Hori provides a range of examples that illustrate how maternal melodrama and animated features, akin to those popularized by Disney, were adopted wholesale by Japanese filmmakers.Emperor Hirohito's image, Hori argues, was inseparable from the development of mass media; he was the first emperor whose public appearances were covered by media ranging from postcards to radio broadcasts. Worship of the emperor through viewing his image, Hori shows, taught the Japanese people how to look at images and primed their enjoyment of early animation and documentary films alike. Promiscuous Media links the political and the cultural closely in a way that illuminates the nature of twentieth-century Japanese society.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781501709524

Frontmatter -- Contents -- Illustrations -- Preface and Acknowledgments -- Introduction -- 1. Photography’s Aura -- 2. Contested Motherhood and Entertainment Film -- 3. The Politics of Japanese Documentary Film -- 4. The Dream of Japanese National Animation -- Epilogue -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

In Promiscuous Media, Hikari Hori makes a compelling case that the visual culture of Showa-era Japan articulated urgent issues of modernity rather than serving as a simple expression of nationalism. Hori makes clear that the Japanese cinema of the time was in fact almost wholly built on a foundation of Russian and British film theory as well as American film genres and techniques. Hori provides a range of examples that illustrate how maternal melodrama and animated features, akin to those popularized by Disney, were adopted wholesale by Japanese filmmakers.Emperor Hirohito's image, Hori argues, was inseparable from the development of mass media; he was the first emperor whose public appearances were covered by media ranging from postcards to radio broadcasts. Worship of the emperor through viewing his image, Hori shows, taught the Japanese people how to look at images and primed their enjoyment of early animation and documentary films alike. Promiscuous Media links the political and the cultural closely in a way that illuminates the nature of twentieth-century Japanese society.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Aug 2024)