Japan and the “Transnational Cinema”
Bibliographic Data
| ID | 21974480 |
|---|---|
| Authors | Marcos P Centeno Martín (0000-0003-1062-0206, Birkbeck, University of London, corresponding author), Nori Morita (Waseda University, corresponding author) |
| Year | 2020 |
| Volume | 9 |
| Issue | 2 |
| Pages | 50 |
| Publication date | 2020-04-17 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Arts (JOURNAL) |
| Journal identifiers | ISSN: 2076-0752 • E-ISSN: 2076-0752 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/arts9020050 |
| OpenAlex | W3017116605 |
| Language | EN |
| References cited | 23 |
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 [...]
Aesthetics · Art · Art history · Essentialism · Media studies · Movie theater · Sociology · Vision · Anthropology · Asian Culture and Media Studies · Gender Studies · History · Hong Kong and Taiwan Politics · Japanese History and Culture
An Accented Cinema
Japanese Cinema Goes GlobalFilmworkers' Journeys
Examples of National and Transnational Cinema
Naomi Kawase’s “Cinema of Place”
Paradoxical Japaneseness
Japan’s New Left and New Wave. An Ideology’s Perspective as an Alternative to That of National Cinema
How can we talk about ‘transnational’ when we talk about Japanese cinema
The Concept of National Cinema
Zainichi Cinema
The attractive empire
Concepts of transnational cinema
| Highly cited | No |
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