東華大學圖書館 |

Filming the Everyday : = History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Filming the Everyday :/
Reminder of title:	History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan.
Author:	Morisue, Noriko.
Description:	1 online resource (255 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
Contained By:	Dissertations Abstracts International83-03A.
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28150332click for full text (PQDT)
ISBN:	9798538107582

Filming the Everyday : = History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan.
Morisue, Noriko.

Filming the Everyday :History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan. - 1 online resource (255 pages)

Source: Dissertations Abstracts International, Volume: 83-03, Section: A.

Thesis (Ph.D.)--Yale University, 2020.

Includes bibliographical references

This dissertation explores the ways in which the emergence of portable small-gauge film technologies and the subsequent spread of amateur film culture challenged the practices and meaning of cinema in interwar and wartime Japan. It argues that amateur cinema served as a place where some of the fundamental theories of film and aesthetics came to fruition in practice and discourse. With the arrival of small-gauge film equipment, people who had been limited to watching commercial films as a part of the audience now acquired a means to become the producers of films. The rise of these emerging filmmakers significantly changed the mediascape of production and exhibition practices as well as the discourse of Japanese cinema by bringing the equipment into the everyday domain of home and semi-private spaces. Key to amateur filmmakers' participation in discourse and filmmaking was the idea of "amateurishness"-or what amateur filmmakers themselves called amachua rashisa in Japanese. Amateurs discussed amateurishness as their primary driving force to engage in various aesthetic and theoretical endeavors, particularly because of their belief that amateur filmmakers must deliberately create different films from commercial cinema in order to justify their theoretical and practical undertaking. Although the term "amateurish" in English carries negative connotations since it implies the idea of faults or deficiencies, this project uses it much in a positive light, following the ways contemporary Japanese amateurs employed this term. In the context of interwar and wartime Japan, the concept of amateurishness was a subject of active discussion not only among amateurs but also among a wide range of prominent film and art critics, intellectuals, and commercial studio filmmakers. The figures who participated in this discourse of amateurishness included leading art historian Itagaki Takao, film critics Shimizu Hikaru and Imamura Taihei, and commercial studio filmmakers such as Gosho Heinosuke, Murata Minoru, Suzuki Shigeyoshi, Ushihara Kiyohiko, and Yoda Yoshikata. By analyzing their discourse, I will locate the points of intersection, contradiction, and compromise among different cultural sectors of Japanese society. Amateur cinema of this period was essentially class-based; because most of the small-gauge film technologies were still expensive in the 1920s and the 1930s, amateur filmmakers consisted primarily of upper and upper-middle class consumers as well as social and cultural elites. My project suggests that this rather exclusive nature of Japanese amateur cinema helped to create a condition for these amateurs to become active participants in contemporary discourse. They employed trade journals and coterie magazines as a platform of dynamic discussion and debate. In addition, some of them developed strong interests in contemporary film theories from abroad, including those by Eisenstein, Pudovkin, Vertov, Hans Richter, Bela Balazs, and Laszlo Moholy-Nagy. Japanese amateur filmmakers applied the theories in their own small-gauge filmmaking. A central issue at stake in Japanese amateur cinema lay in various power relations both within and beyond amateur film communities. In particular, this study pays attention to three such relations: cultural and socio-economic unevenness, the association between amateurs and the commercial film industry, and the question of knowledge as power that constructed a hierarchy both within and in relation to the amateur communities. Consisting of four chapters focusing on technology, the film avant-garde, amateurism by commercial studio directors, and wartime amateurism, this dissertation demonstrates how amateur cinema raised social and political concerns regarding the notion of the everyday in interwar and wartime Japan.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798538107582Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Amateur mediaIndex Terms--Genre/Form:

542853
Electronic books.

Filming the Everyday : = History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan.
LDR:05267nmm a2200433K 4500 001 2358989
005 20230906055240.5
006 m o d
007 cr mn ---uuuuu
008 241011s2020 xx obm 000 0 eng d
020 $a 9798538107582
035 $a (MiAaPQ)AAI28150332
035 $a AAI28150332
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Morisue, Noriko. $3 3699536
245 1 0 $a Filming the Everyday : $b History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan.
264 0 $c 2020
300 $a 1 online resource (255 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
500 $a Advisor: Gerow, Aaron A.
502 $a Thesis (Ph.D.)--Yale University, 2020.
504 $a Includes bibliographical references
520 $a This dissertation explores the ways in which the emergence of portable small-gauge film technologies and the subsequent spread of amateur film culture challenged the practices and meaning of cinema in interwar and wartime Japan. It argues that amateur cinema served as a place where some of the fundamental theories of film and aesthetics came to fruition in practice and discourse. With the arrival of small-gauge film equipment, people who had been limited to watching commercial films as a part of the audience now acquired a means to become the producers of films. The rise of these emerging filmmakers significantly changed the mediascape of production and exhibition practices as well as the discourse of Japanese cinema by bringing the equipment into the everyday domain of home and semi-private spaces. Key to amateur filmmakers' participation in discourse and filmmaking was the idea of "amateurishness"-or what amateur filmmakers themselves called amachua rashisa in Japanese. Amateurs discussed amateurishness as their primary driving force to engage in various aesthetic and theoretical endeavors, particularly because of their belief that amateur filmmakers must deliberately create different films from commercial cinema in order to justify their theoretical and practical undertaking. Although the term "amateurish" in English carries negative connotations since it implies the idea of faults or deficiencies, this project uses it much in a positive light, following the ways contemporary Japanese amateurs employed this term. In the context of interwar and wartime Japan, the concept of amateurishness was a subject of active discussion not only among amateurs but also among a wide range of prominent film and art critics, intellectuals, and commercial studio filmmakers. The figures who participated in this discourse of amateurishness included leading art historian Itagaki Takao, film critics Shimizu Hikaru and Imamura Taihei, and commercial studio filmmakers such as Gosho Heinosuke, Murata Minoru, Suzuki Shigeyoshi, Ushihara Kiyohiko, and Yoda Yoshikata. By analyzing their discourse, I will locate the points of intersection, contradiction, and compromise among different cultural sectors of Japanese society. Amateur cinema of this period was essentially class-based; because most of the small-gauge film technologies were still expensive in the 1920s and the 1930s, amateur filmmakers consisted primarily of upper and upper-middle class consumers as well as social and cultural elites. My project suggests that this rather exclusive nature of Japanese amateur cinema helped to create a condition for these amateurs to become active participants in contemporary discourse. They employed trade journals and coterie magazines as a platform of dynamic discussion and debate. In addition, some of them developed strong interests in contemporary film theories from abroad, including those by Eisenstein, Pudovkin, Vertov, Hans Richter, Bela Balazs, and Laszlo Moholy-Nagy. Japanese amateur filmmakers applied the theories in their own small-gauge filmmaking. A central issue at stake in Japanese amateur cinema lay in various power relations both within and beyond amateur film communities. In particular, this study pays attention to three such relations: cultural and socio-economic unevenness, the association between amateurs and the commercial film industry, and the question of knowledge as power that constructed a hierarchy both within and in relation to the amateur communities. Consisting of four chapters focusing on technology, the film avant-garde, amateurism by commercial studio directors, and wartime amateurism, this dissertation demonstrates how amateur cinema raised social and political concerns regarding the notion of the everyday in interwar and wartime Japan.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Film studies. $3 2122736
650 4 $a Asian studies. $3 1571829
650 4 $a Asian history. $2 bicssc $3 1099323
650 4 $a Research. $3 531893
650 4 $a Cameras. $3 524039
650 4 $a Social history. $3 520280
650 4 $a Culture. $3 517003
650 4 $a Avant-garde. $2 gtt $3 921822
650 4 $a Magazines. $3 3682368
650 4 $a Motion picture directors & producers. $3 3556301
650 4 $a Amateurs. $3 3699538
650 4 $a Knowledge. $3 872758
650 4 $a Society. $3 700566
650 4 $a Archives & records. $3 3558980
650 4 $a Essays. $3 642973
650 4 $a Modernity. $2 lcstt $3 3266067
650 4 $a Museums. $3 569592
650 4 $a Aesthetics. $3 523036
650 4 $a Social classes. $3 520244
650 4 $a Archivists. $3 3559992
653 $a Amateur media
653 $a Avant-Garde
653 $a Film industry
653 $a Film technology
653 $a Japanese film
653 $a Wartime cinema
653 $a Japanese media
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0900
690 $a 0342
690 $a 0332
690 $a 0650
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a Yale University. $b Film and Media Studies / East Asian Languages and Literatures. $3 3699537
773 0 $t Dissertations Abstracts International $g 83-03A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28150332 $z click for full text (PQDT)