Marcos P Centeno Martín
Biographic Data
| ID | 6814016 |
|---|---|
| NAME | Marcos P Centeno Martín |
| GIVEN NAMES | Marcos P Centeno |
| FAMILY NAME | Martín |
| SIGNATURE | MARTÍN M P C |
| AFFILIATIONS | Birkbeck, University of London |
| ORCID | 0000-0003-1062-0206 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
And rural Japan as a site of struggle. Approaches to rural landscapes in the history of Japanese documentary film
In the twentieth century, Japan produced an extraordinary documentary film heritage around the rural world which has not received sufficient attention. This article identifies three different approaches to the rural in Japanese film history: first, the wartime interest in place as providing an “authentic essence” of a national identity. Second, the postwar representation of the rural in public relations films (PR eiga), mainly interested in geogr…
Japan and the “Transnational Cinema”
Since the Western “discovery” of Japanese cinema in the 1950s, there has been a tendency among both Film Studies and Japanese Studies scholars to draw on essentialist visions of Japanese Cinema, understating its uniqueness as a consequence of its isolation from the rest of the world [...]
Tracing Tendencies in the Japanese Documentary Mode
The documentary mode has not had the recognition it deserves in the western historiography of Japanese cinema [...]
The fight for self-representation
Film representation of the Ainu people is as old as cinema but it has not remained stable over time. From the origins of cinema, Ainu people were an object of interest for Japanese and foreign explorers who portrayed them as an Other, savage and isolated from the modern world. The notion of “otherness” was slightly modified during wartime, as the Ainu were represented as Japanese subjects within the “imperial family”, and at the end of the fiftie…
No prominent works on this page.
The fight for self-representation
Film representation of the Ainu people is as old as cinema but it has not remained stable over time. From the origins of cinema, Ainu people were an object of interest for Japanese and foreign explorers who portrayed them as an Other, savage and isolated from the modern world. The notion of “otherness” was slightly modified during wartime, as the Ainu were represented as Japanese subjects within the “imperial family”, and at the end of the fiftie…
Japan and the “Transnational Cinema”
Since the Western “discovery” of Japanese cinema in the 1950s, there has been a tendency among both Film Studies and Japanese Studies scholars to draw on essentialist visions of Japanese Cinema, understating its uniqueness as a consequence of its isolation from the rest of the world [...]
Tracing Tendencies in the Japanese Documentary Mode
The documentary mode has not had the recognition it deserves in the western historiography of Japanese cinema [...]
And rural Japan as a site of struggle. Approaches to rural landscapes in the history of Japanese documentary film
In the twentieth century, Japan produced an extraordinary documentary film heritage around the rural world which has not received sufficient attention. This article identifies three different approaches to the rural in Japanese film history: first, the wartime interest in place as providing an “authentic essence” of a national identity. Second, the postwar representation of the rural in public relations films (PR eiga), mainly interested in geogr…
History (4 works) · Hong Kong and Taiwan Politics (4 works) · Japanese History and Culture (4 works) · Art (3 works) · Asian Culture and Media Studies (3 works) · Media studies (3 works) · Sociology (3 works) · Aesthetics (2 works) · Anthropology (2 works) · Art history (2 works)