Le cinéma japonais indīzu et la fabrique néolibérale de l’auteur et de l’autrice
L’exemple de Moosic LAB
Bibliographic Data
| ID | 6142544 |
|---|---|
| Authors | Hao Wen (0000-0002-0377-0022, University of Warwick, corresponding author) |
| Translators | Amira Zegrour |
| Year | 2022 |
| Volume | 59 |
| Issue | 59 |
| Pages | 211-240 |
| Publication date | 2022-03-15 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Ebisu (JOURNAL) |
| Journal identifiers | ISSN: 1340-3656 • E-ISSN: 2189-1893 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/ebisu.7119 |
| OpenAlex | W4283387537 |
| Language | FR |
| References cited | 16 |
This article looks at a recent practice of promoting indīzu (independent filmmaking) through a specific film event and network called MOOSIC LAB, which connects independent film production and distribution with Japan’s neoliberal kontentsu (contents) industry. This practice of indīzu should be distinguished both from the traditional independent and amateur filmmaking and from the art house cinema promoted by the European festival film circuit. Following a discursive study of MOOSIC LAB and its auteur-making strategy, this article demonstrates the influence of cultural-economic neoliberalism in the realm of Japanese independent cinema. This research further investigates the space that the neoliberal indīzu film culture has opened up for the up-and-coming generation of Japanese filmmakers in and beyond independent film circles
Art · Humanities · Political science · Cinema and Media Studies · Cultural Industries and Urban Development · Japanese History and Culture
| Citation velocity | historical |
|---|---|
| Highly cited | No |