Produktdetaljer
Om bidragsyterne
Mark Player is a film scholar specialising in Japanese cinema. He previously taught film at the University of Reading, UK and has been published in journals such as Japan Forum, Punk & Post Punk, and Film and Media Studies. His research interests include Asian cinema, (cyber)punk, media distribution, film festivals, amateur film, DIY and underground subcultures.An essential book not just for anyone interested in Japan’s punk scene, but for anyone with an interest in the history of independent Japanese cinema.
- William Carroll, University of Alberta, Canada,
This book breaks new ground both in its exploration of the exciting, experimental area of Japanese punk filmmaking and in its refined and sensitive intermedial approach.
- Ágnes Petho, Sapientia University of Transylvania, Romania,
In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japan’s film industry.
Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film)
tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shin’ya, and Fukui Shozin, Player explores how punk’s bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street performance, handmade animation, television, and other mass media.
By considering the practical, phenomenological, and political ramifications of combining diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinson’s Garden (1987), Tetsuo: The Iron Man (1989), and more. He further traces the changing sociocultural position of Japan’s punk generation throughout the 1980s—from its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence.
Introduction: Anarchy in Japan
1. Apathy and Atrophy: The emergence of Japan’s punk generation
2. Synergies and Analogues: Exchanges between self-made film and punk
3. Liberation and Capitulation: Burst City and the politics of musicality
4. Placemaking and Resistance: The competing mediascapes of Robinson’s Garden
5. Assimilation and Symbiosis: Tetsuo: The Iron Man and the intermedial (cyber)punk body
6. Space and Feeling: The explosive sound of Pinocchio 964
Notes
References
Works Cited
Index
The World Cinema series aims to reveal and celebrate the richness and complexity of film art across the globe, exploring a wide variety of cinemas set within their own cultures and as they interconnect in a global context. Books in the series represent innovative scholarship, in tune with the multicultural character of contemporary audiences. Drawing upon an international authorship, they challenge outdated conceptions of world cinema, and provide new ways of understanding a field at the centre of film studies in an era of transnational networks.
Series Editors
Professor Lúcia Nagib, University of Reading: l.nagib@reading.ac.uk
Dr Julian Ross, Leiden University: j.a.ross@hum.leidenuniv.nl
Advisory Board
Professor Laura Mulvey, Birkbeck, University of London, UK
Professor Robert Stam, Tisch School of the Arts, NYU, USA
Ismail Xavier, University of São Paulo, Brazil
Dudley Andrew, Yale University, USA
Commissioning Editor at Bloomsbury:
Veidehi Hans - veidehi.hans@bloomsbury.com