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Cover: Powers of the Real: Cinema, Gender, and Emotion in Interwar Japan, from Harvard University PressCover: Powers of the Real in PAPERBACK

Harvard East Asian Monographs 424

Powers of the Real

Cinema, Gender, and Emotion in Interwar Japan

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Product Details

PAPERBACK

$29.00 • £23.95 • €26.00

ISBN 9780674241169

Publication Date: 10/29/2019

Text

  • List of Illustrations*
  • Acknowledgments
  • Note on Japanese Names and Translations
  • Introduction
  • I. Backgrounds: The Great Kanto Earthquake and Mass Media
    • 1. Great Kanto Earthquake Documentary Films and the State
    • 2. The Testimony of the Body: Nikkatsu’s Earthquake Melodrama Films
    • 3. “Realism” and Modernity
  • II. The Power of Cinema: Identification and Emotion
    • 4. Desire and Identification: The Aspiring Actress Problem
    • 5. Intimacy and Alienation: Murayama Tomoyoshi, Modern Media Celebrity, and Film
    • 6. Expressive Excess: Gendered Bodies and Proletarian Texts
  • Afterword
  • Notes
  • Bibliography
  • Index
  • * Illustrations
    • 1.1. Hirohito, in a military uniform with folded hands in white gloves, looks on during the performance of The Farewell Scenes of Kusunoki Masahige and His Son
    • 1.2. Aerial photograph of the ruins around Kanda and Jinbōchō
    • 1.3. Ad for Nikkatsu’s earthquake documentary
    • 1.4. Hirohito acknowledges the camera in Actuality of the Great Kanto Earthquake and Conflagration
    • 1.5. Nikkatsu Mukōjima’s Kōsaka Toshimitsu, shown with his earthquake footage
    • 2.1. On-location shooting for The Earth Shakes and In the Ruins
    • 2.2. Ad for Day of the Tempest
    • 2.3. Publicity still of The Earth Shakes
    • 2.4. Cartoon of actress Sawamura Haruko, who starred in The Earth Shakes
    • 4.1. Nikkatsu gahō headline: “To the Depths of Hell: Details of Crimes That Accompany Descending Throng of Actresses”
    • 4.2. A panel from the manga “From Fan to Actress”
    • 4.3. Postcard of Asakusa Park circa 1922, a bustling space of commercial display
    • 5.1. Murayama dancing nude in the studio in his home
    • 5.2. Murayama and Okada Tatsuo perform “Dance That Cannot Be Named”
    • 6.1. The “moving” statuary montage sequences in Battleship Potemkin and What Made Her Do It?
    • 6.2. Stills from What Made Her Do It?: mugging servants’ faces register the absurdity and cruelty of the mistress’s demands
    • 6.3. Stills from What Made Her Do It?: canted camera angles are used in the scene where Sumiko is tormented by a fellow circus performer, who accuses her of stealing money
    • 6.4. Still from What Made Her Do It?: at her uncle’s house, Sumiko is not allowed to eat until everyone else is finished
    • 6.5. Stills from What Made Her Do It?: the young mistress sprays food while choking on a bone
    • 6.6. Stills from What Made Her Do It?: food flies as a servant tries to help
    • 6.7. Still from What Made Her Do It?: the offending bone is found

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