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Wit and worldplay: The Japanese wart...

Davis, Richard M.

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Wit and worldplay: The Japanese wartime musical film, 1931-1945.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Wit and worldplay: The Japanese wartime musical film, 1931-1945./
作者:	Davis, Richard M.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	235 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.
Contained By:	Dissertation Abstracts International78-05A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10195098
ISBN:	9781369438260

Wit and worldplay: The Japanese wartime musical film, 1931-1945.
Davis, Richard M.

Wit and worldplay: The Japanese wartime musical film, 1931-1945. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 235 p.

Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.

Thesis (Ph.D.)--The University of Chicago, 2016.

This doctoral dissertation examines the development of Japanese musical films produced between 1931 and 1945. Its primary objective is to further our understanding of the way these "modern and frivolous" entertainments negotiated three conflicting demands: the commercial imperative of the industrial studios and the mass audience, the artistic impulses of the filmmakers, and the active hostility directed towards them by the increasingly totalitarian and militarized state.

ISBN: 9781369438260Subjects--Topical Terms:

2122736
Film studies.

Wit and worldplay: The Japanese wartime musical film, 1931-1945.
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245 1 0 $a Wit and worldplay: The Japanese wartime musical film, 1931-1945.
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300 $a 235 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.
500 $a Adviser: Michael Bourdaghs.
502 $a Thesis (Ph.D.)--The University of Chicago, 2016.
520 $a This doctoral dissertation examines the development of Japanese musical films produced between 1931 and 1945. Its primary objective is to further our understanding of the way these "modern and frivolous" entertainments negotiated three conflicting demands: the commercial imperative of the industrial studios and the mass audience, the artistic impulses of the filmmakers, and the active hostility directed towards them by the increasingly totalitarian and militarized state.
520 $a Chapter 1 begins by focusing on the advent of synchronized sound production in Japan in 1931 (three years "late," in other words), and the generative ambiguities of how sound and music's relationship to film was figured in that year's anxious discourse. It then goes on to link those anxieties to the way that diegetic control over sound and music becomes a central thematic of two important early sound films, The Neighbor's Wife and Mine (1931) and A Tipsy Life (1933).
520 $a The remainder of the dissertation is organized to reflect some of the prominent directors, stars, and industrial cycles that circumscribe a range of possible meanings for the Japanese musical film. Chapter 2 looks to the works of prolific stage and screen comedian Enoken (Enomoto Ken'ichi), asking how humor can parodically warp musicality. In films like Enoken's Chakkiri Kinta (1937) and Songoku (1940), we see conventional hierarchies of class, gender, and nation being flipped over for pleasurable and politically risky ends.
520 $a Chapter 3, which focuses on director Makino Masahiro's two musicals, Dueling Lovebirds (1939) and Hanako-san (1943), shares with Chapter 2 a concern with the jidaigeki , or period film, musical, where anachronistic juxtaposition of "modern" and "traditional" elements generates a great deal of humor. The interest here, however, is less in parody than the "brightness" of Makino's style, which the chapter interrogates in order to reveal the boundaries of these films' utopian imagination. Scenes of community and of material abundance prove to function differently than in their Hollywood counterparts, constrained by the bounds of the sociopolitically sayable.
520 $a Chapter 4 turns to Manchurian-born actress Yamaguchi Yoshiko, better known by her Chinese stage name Ri Koran. In the so-called "Continental Trilogy" of Song of the White Orchid (1939), China Nights (1940), and Oath on the Burning Sands (1940), Yamaguchi's ambiguous and polyvalent ethnic, national, and linguistic identities incite a similar fragmentation of the films' generic appeals -- they are at once melodrama, musical, and action film -- which in turn allows their mapping of colonial and gendered spaces to open unto multiple readings for multiple audiences.
590 $a School code: 0330.
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650 4 $a Asian studies. $3 1571829
650 4 $a Modern history. $3 2122829
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710 2 $a The University of Chicago. $b East Asian Languages and Civilizations and Cinema and Media Studies. $3 3280221
773 0 $t Dissertation Abstracts International $g 78-05A(E).
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