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oapen-20.500.12657-562822022-06-02T03:24:52Z Chapter “What is contemporary Japanese Cinema?”. Questioning the answers, answering with questions CALORIO, GIACOMO contemporary Japanese cinema Japanese film theory visual culture digital culture The English title of a recent book by renowned film scholar Yomota Inuhiko reads: “What is Japanese Cinema?”. In the preface to the English edition Yomota states that the direction we might take, should we try to provide an answer to the question, changes according to which word, “Japanese” or “Cinema” we choose to emphasize. When his survey reaches the recent past, the Japanese scholar describes the 2000s as “an era of chaos”. Starting from these questions and affirmations, and combining them with others made by scholars such as David Bordwell, Mitsuyo Wada-Marciano, Andrew Dorman and Mori Naoyuki, the following article attempts to explore a more specific doubt: “What is contemporary Japanese cinema”? In so doing, however, other questions arise, as we need to define when contemporaneity starts and what makes it different both from previous eras, and from the contemporaneity of other national cinemas. The further we probe, the more complex our definition becomes. 2022-06-01T12:18:07Z 2022-06-01T12:18:07Z 2020 chapter ONIX_20220601_9788855182607_465 2704-5919 9788855182607 https://library.oapen.org/handle/20.500.12657/56282 eng Studi e saggi application/pdf Attribution 4.0 International 15620.pdf https://books.fupress.com/doi/capitoli/978-88-5518-260-7_1 Firenze University Press 10.36253/978-88-5518-260-7.01 10.36253/978-88-5518-260-7.01 bf65d21a-78e5-4ba2-983a-dbfa90962870 9788855182607 220 17 Florence open access
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OAPEN
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English
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The English title of a recent book by renowned film scholar Yomota Inuhiko reads: “What is Japanese Cinema?”. In the preface to the English edition Yomota states that the direction we might take, should we try to provide an answer to the question, changes according to which word, “Japanese” or “Cinema” we choose to emphasize. When his survey reaches the recent past, the Japanese scholar describes the 2000s as “an era of chaos”. Starting from these questions and affirmations, and combining them with others made by scholars such as David Bordwell, Mitsuyo Wada-Marciano, Andrew Dorman and Mori Naoyuki, the following article attempts to explore a more specific doubt: “What is contemporary Japanese cinema”? In so doing, however, other questions arise, as we need to define when contemporaneity starts and what makes it different both from previous eras, and from the contemporaneity of other national cinemas. The further we probe, the more complex our definition becomes.
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15620.pdf
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15620.pdf
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| title_short |
15620.pdf
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| title_full |
15620.pdf
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15620.pdf
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15620.pdf
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15620.pdf
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Firenze University Press
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2022
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https://books.fupress.com/doi/capitoli/978-88-5518-260-7_1
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1771297561152323584
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