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Problem cinema: Culture, capital and...

University of California, San Diego.

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Problem cinema: Culture, capital and form in Japan.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Problem cinema: Culture, capital and form in Japan./
作者:	Cazdyn, Eric M.
面頁冊數:	310 p.
附註:	Chairperson: Masao Miyoshi.
Contained By:	Dissertation Abstracts International59-09A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9908497
ISBN:	9780599066274

Problem cinema: Culture, capital and form in Japan.
Cazdyn, Eric M.

Problem cinema: Culture, capital and form in Japan. - 310 p.

Chairperson: Masao Miyoshi.

Thesis (Ph.D.)--University of California, San Diego, 1998.

In this dissertation I theorize the relation between the one hundred-year history of Japanese film and the social, political, and economic transformations of the nation. The most important risk I take in the dissertation is to push film and capitalism into the same idea, without reducing the complexity of either the aesthetic or political economy. In order to walk this tightrope I focus on form, more specifically on the formal relations between cinematic categories (such as acting, film adaptation, film historiography, and pornography) and capitalist ones (such as accumulation methods, agency, crisis, money, and nationalist discourse). I zoom in on those critical moments of Japanese modernity when the forms of both cinematic and capitalist categories mutate. My project is to map and theorize these mutations in order to make sense of how film has shaped--and has been shaped by--the Japanese modern nation and, ultimately, how it affects the lives of those who live through it.

ISBN: 9780599066274Subjects--Topical Terms:

854529
Cinema.

Problem cinema: Culture, capital and form in Japan.
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520 $a In this dissertation I theorize the relation between the one hundred-year history of Japanese film and the social, political, and economic transformations of the nation. The most important risk I take in the dissertation is to push film and capitalism into the same idea, without reducing the complexity of either the aesthetic or political economy. In order to walk this tightrope I focus on form, more specifically on the formal relations between cinematic categories (such as acting, film adaptation, film historiography, and pornography) and capitalist ones (such as accumulation methods, agency, crisis, money, and nationalist discourse). I zoom in on those critical moments of Japanese modernity when the forms of both cinematic and capitalist categories mutate. My project is to map and theorize these mutations in order to make sense of how film has shaped--and has been shaped by--the Japanese modern nation and, ultimately, how it affects the lives of those who live through it.
520 $a To make sense of these formal relations and their transformations I produce the concept of "problem cinema." Problem cinema refers to the historically dominant problem with which all cinematic production must--in however unconscious or indirect a way--come to terms. The three problems I identify correspond to three moments of Japanese modernity: (1) between being colonized and being a colonizer nation of the pre-WWII moment; (2) between the individual and collective of the post-War moment; and (3) between the national and the transnational of the contemporary moment. During the dominance of one of these dynamically related problems, a double bind is produced: an impossible problem that can only be overcome by radical transformations in the social situation. Formal solutions then emerge as coded utopias, as ways to figure something for which there is no accessible discourse. By stressing the formal relation between film and capitalism throughout Japanese modernity, this dissertation ends up focusing on directors (such as Kamei Fumio, Hani Susumu, Imamura Shohei, Shindo Kaneto, Ogawa Shinsuke, Haneda Sumiko, and Hara Kazuo) and theoretical problems that are not usually examined by the more canonical histories.
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