Aaron Gerow
Biographic Data
| ID | 275297 |
|---|---|
| NAME | Aaron Gerow |
| GIVEN NAMES | Aaron |
| FAMILY NAME | Gerow |
| SIGNATURE | GEROW A |
| AFFILIATIONS | Yale University |
| ORCID | 0000-0002-8279-1322 |
| VERIFIED | Yes |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 19 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Two houses and two films: Transecting Koreeda Hirokazu and Bong Joon-ho through allegory
Koreeda Hirokazu’s Shoplifters (2018) and Bong Joon-ho’s Parasite (2019) won the Cannes Film Festival in consecutive years and bear a number of elements in common, particularly a family in poverty pursuing petty crime to survive in a neoliberal world within a narrative centred on a unique house. While noting these filmmakers’ place in a network of international influences, this paper argues such similarities serve best as a ground for bringing in…
Critical Introduction: Shiguéhiko Hasumi and Viewing Film Studies Anew
Theorizing Colonial Cinema: Reframing Production, Circulation, and Consumption of Film in Asia
Theorizing the theory complex in Japanese film studies
The recent surge in studies of Japanese film theory can be seen as an aspect of efforts to counter Eurocentrism in film studies and the aversion to theory in Japan studies. It could also help scholars think through the problem of utilizing theory in East Asian studies. Yet even if knowing the film theory of an era can help us understand the context of the films of that era, it should not simply serve as a sort of local informant for the foreign t…
Kawabata and cinema: The Ambivalence of Knowledge, Medium, and Influence
Many researchers have considered the involvement of Kawabata Yasunari in cinema and the medium's possible influence on his literature. Such approaches, however, tend to assume a definition of the motion pictures as visuality or montage that then influences Kawabata instead of first considering Kawabata's own conception of cinema, his own film theory. By analyzing his writings on film, including his film criticism, short stories involving cinema, …
Japanese film and television
Critical Reception: Historical Conceptions of Japanese Film Criticism
This article traces the historical role of film criticism in Japan, specifically focusing on its relation to film theory and spectatorship. Starting from the Pure Film Movement in the 1910s and continuing to the postmillennium film world, it narrates the development of two dominant tendencies, impressionist and ideological criticism, as well as the alternatives to them explored before and after the New Wave by figures such as Tsurumi Shunsuke, Og…
War and Nationalism in Yamato: Trauma and Forgetting the Postwar
The recent spate of Japanese films dealing with World War II or with Japan fighting modern wars raises questions about what kind of histories are being narrated, both wartime and postwar, what they say about Japanese responsibility for war and atrocities in the Asia-Pacific War, and how they relate to current trends in nationalism. The fear is that such movies resonate with other phenomena, from the comments of Japanese officials, most recently e…
Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925
Narrating the Nation-ality of a Cinema: The Case of Japanese Prewar Film
The Homelessness of Style and the Problems of Studying Miike Takashi
Les études critiques consacrées au cinéaste Miike Takashi se concentrent généralement sur le caractère outrancier de l’œuvre de ce dernier, de même que sur sa profonde indignation envers la société japonaise. En s’attardant sur l’usage récurrent fait par Miike du plan-séquence, du montage rapide, ainsi que d’une facture visuelle inspirée de la bande dessinée, cet article vise plutôt à faire ressortir le caractère « itinérant » de l’oeuvre du ciné…
A Page of Madness: Cinema and Modernity in 1920s Japan
From Flags of Our Fathers to Letters From Iwo Jima: Clint Eastwood's Balancing of Japanese and American Perspectives
History, like the cinema, can often be a matter of perspective. That's why Clint Eastwood's decision to narrate the Battle of Iwo Jima from both the American and the Japanese point of view is not really new; it had been done before in Tora Tora Tora (1970), for instance. But by dividing these perspectives in different films directed at Japanese and international audiences, Eastwood makes history not merely an issue of which side you are on, but o…
Fantasies of War and Nation in Recent Japanese Cinema
It comes as no surprise that the recent resurgence of neo-nationalist thought in Japan would find expression in cinema.[1] With the issue of the nation and its ability to fight war, currently prohibited by Article 9 of the Japanese constitution, being vigorously challenged by the ruling party and the right, in part through actual deployment of Self-Defense Forces in Iraq and other danger zones, it is significant that the year 2005 saw the release…
Spectateurs combattants. La réception du cinéma japonais dans la Sphère de coprospérité de la Grande Asie orientale
La remarque de Paul Virilio selon laquelle « la guerre est le cinéma, le cinéma est la guerre » portait avec raison non seulement sur la relation entre la guerre et le contenu du cinéma, mais également sur la similitude entre la guerre et 1 appareil cinématographique lui-même. Néanmoins, un tel raisonnment a eu tendance à insister davantage sur l'appareil lui-même que sur le rôle des spectateurs dans la relation du film à la guerre. Cet article m…
Word and Image in Japanese Cinema
Word and Image in Japanese Cinema examines the complex relationship between the temporal order of linguistic narrative and the spatiality of visual spectacle, a dynamic that has played an important role in much of Japanese film. The tension between the controlling order of words and the liberating fragmentation of images has been an important force that has shaped modern culture in Japan and that has also determined the evolution of its cinema. I…
A Scene at the Threshold: Liminality in the Films of Kitano Takeshi
Consuming Asia, consuming Japan: The new neonationalist revisionism in Japan
The popularity of Fujioka Nobukatsu's books and the neo-nationalist historical revisionism they represent should not simply be analyzed as the return of the old rightwing in Japan. Reacting to the threats seemingly posed by various Others—a rising Asia, illegal foreigners in Japan, women, an increasingly “alien” youth culture—Fujioka and his followers have wielded a variety of myths and popular narratives about Japan and Japanese history to make …
Satyajit Ray: The Inner Eye
Consuming Asia, consuming Japan: The new neonationalist revisionism in Japan
The popularity of Fujioka Nobukatsu's books and the neo-nationalist historical revisionism they represent should not simply be analyzed as the return of the old rightwing in Japan. Reacting to the threats seemingly posed by various Others—a rising Asia, illegal foreigners in Japan, women, an increasingly “alien” youth culture—Fujioka and his followers have wielded a variety of myths and popular narratives about Japan and Japanese history to make …
Satyajit Ray: The Inner Eye
Consuming Asia, consuming Japan: The new neonationalist revisionism in Japan
The popularity of Fujioka Nobukatsu's books and the neo-nationalist historical revisionism they represent should not simply be analyzed as the return of the old rightwing in Japan. Reacting to the threats seemingly posed by various Others—a rising Asia, illegal foreigners in Japan, women, an increasingly “alien” youth culture—Fujioka and his followers have wielded a variety of myths and popular narratives about Japan and Japanese history to make …
A Scene at the Threshold: Liminality in the Films of Kitano Takeshi
Word and Image in Japanese Cinema
Word and Image in Japanese Cinema examines the complex relationship between the temporal order of linguistic narrative and the spatiality of visual spectacle, a dynamic that has played an important role in much of Japanese film. The tension between the controlling order of words and the liberating fragmentation of images has been an important force that has shaped modern culture in Japan and that has also determined the evolution of its cinema. I…
Spectateurs combattants. La réception du cinéma japonais dans la Sphère de coprospérité de la Grande Asie orientale
La remarque de Paul Virilio selon laquelle « la guerre est le cinéma, le cinéma est la guerre » portait avec raison non seulement sur la relation entre la guerre et le contenu du cinéma, mais également sur la similitude entre la guerre et 1 appareil cinématographique lui-même. Néanmoins, un tel raisonnment a eu tendance à insister davantage sur l'appareil lui-même que sur le rôle des spectateurs dans la relation du film à la guerre. Cet article m…
From Flags of Our Fathers to Letters From Iwo Jima: Clint Eastwood's Balancing of Japanese and American Perspectives
History, like the cinema, can often be a matter of perspective. That's why Clint Eastwood's decision to narrate the Battle of Iwo Jima from both the American and the Japanese point of view is not really new; it had been done before in Tora Tora Tora (1970), for instance. But by dividing these perspectives in different films directed at Japanese and international audiences, Eastwood makes history not merely an issue of which side you are on, but o…
Fantasies of War and Nation in Recent Japanese Cinema
It comes as no surprise that the recent resurgence of neo-nationalist thought in Japan would find expression in cinema.[1] With the issue of the nation and its ability to fight war, currently prohibited by Article 9 of the Japanese constitution, being vigorously challenged by the ruling party and the right, in part through actual deployment of Self-Defense Forces in Iraq and other danger zones, it is significant that the year 2005 saw the release…
Narrating the Nation-ality of a Cinema: The Case of Japanese Prewar Film
The Homelessness of Style and the Problems of Studying Miike Takashi
Les études critiques consacrées au cinéaste Miike Takashi se concentrent généralement sur le caractère outrancier de l’œuvre de ce dernier, de même que sur sa profonde indignation envers la société japonaise. En s’attardant sur l’usage récurrent fait par Miike du plan-séquence, du montage rapide, ainsi que d’une facture visuelle inspirée de la bande dessinée, cet article vise plutôt à faire ressortir le caractère « itinérant » de l’oeuvre du ciné…
A Page of Madness: Cinema and Modernity in 1920s Japan
Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925
War and Nationalism in Yamato: Trauma and Forgetting the Postwar
The recent spate of Japanese films dealing with World War II or with Japan fighting modern wars raises questions about what kind of histories are being narrated, both wartime and postwar, what they say about Japanese responsibility for war and atrocities in the Asia-Pacific War, and how they relate to current trends in nationalism. The fear is that such movies resonate with other phenomena, from the comments of Japanese officials, most recently e…
Critical Reception: Historical Conceptions of Japanese Film Criticism
This article traces the historical role of film criticism in Japan, specifically focusing on its relation to film theory and spectatorship. Starting from the Pure Film Movement in the 1910s and continuing to the postmillennium film world, it narrates the development of two dominant tendencies, impressionist and ideological criticism, as well as the alternatives to them explored before and after the New Wave by figures such as Tsurumi Shunsuke, Og…
Japanese film and television
Kawabata and cinema: The Ambivalence of Knowledge, Medium, and Influence
Many researchers have considered the involvement of Kawabata Yasunari in cinema and the medium's possible influence on his literature. Such approaches, however, tend to assume a definition of the motion pictures as visuality or montage that then influences Kawabata instead of first considering Kawabata's own conception of cinema, his own film theory. By analyzing his writings on film, including his film criticism, short stories involving cinema, …
Theorizing the theory complex in Japanese film studies
The recent surge in studies of Japanese film theory can be seen as an aspect of efforts to counter Eurocentrism in film studies and the aversion to theory in Japan studies. It could also help scholars think through the problem of utilizing theory in East Asian studies. Yet even if knowing the film theory of an era can help us understand the context of the films of that era, it should not simply serve as a sort of local informant for the foreign t…
Theorizing Colonial Cinema: Reframing Production, Circulation, and Consumption of Film in Asia
Critical Introduction: Shiguéhiko Hasumi and Viewing Film Studies Anew
Two houses and two films: Transecting Koreeda Hirokazu and Bong Joon-ho through allegory
Koreeda Hirokazu’s Shoplifters (2018) and Bong Joon-ho’s Parasite (2019) won the Cannes Film Festival in consecutive years and bear a number of elements in common, particularly a family in poverty pursuing petty crime to survive in a neoliberal world within a narrative centred on a unique house. While noting these filmmakers’ place in a network of international influences, this paper argues such similarities serve best as a ground for bringing in…
Art (12 works) · Japanese History and Culture (12 works) · Cinema and Media Studies (9 works) · History (8 works) · Movie theater (8 works) · Sociology (8 works) · Asian Culture and Media Studies (7 works) · Literature (7 works) · Political science (7 works) · Aesthetics (6 works)