東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Projecting Blackness: Japan's Cinema...

Citizen, Robyn.

FindBook

Google Book

Amazon

博客來

Projecting Blackness: Japan's Cinematic Encounters with the black-American Other (1948-1993).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Projecting Blackness: Japan's Cinematic Encounters with the black-American Other (1948-1993)./
作者:	Citizen, Robyn.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:	300 p.
附註:	Source: Dissertations Abstracts International, Volume: 77-07, Section: A.
Contained By:	Dissertations Abstracts International77-07A.
標題:	African American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3740784
ISBN:	9781339328980

Projecting Blackness: Japan's Cinematic Encounters with the black-American Other (1948-1993).
Citizen, Robyn.

Projecting Blackness: Japan's Cinematic Encounters with the black-American Other (1948-1993). - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 300 p.

Source: Dissertations Abstracts International, Volume: 77-07, Section: A.

Thesis (Ph.D.)--New York University, 2015.

This item is not available from ProQuest Dissertations & Theses.

"Projecting Blackness: Japan's Cinematic Encounters with the black-American Other (1945-1993)" extends studies of 'black Pacific' cultural discourses, Afro-Asian political alliances into the realm of transnational and cross-cultural film analysis. This project is motivated by two research inquiries 1) Why are specific tropes of filmic blackness invoked in Japanese cinema beginning in the postwar period, only to sharply decline during the 1980s? 2) What can the patterns of interracial cinematic encounters in various historical and cultural periods reveal about the perceived relationship between figurative blackness and black-Americans, and Japanese ethno-racial identity and geopolitical status? The first chapter shows that particular tropes of blackness from American social problem films were deterritorialized and adapted in postwar cinemas of the Axis powers, to reflexively contemplate destabilized core narratives of national and cultural identity. However, through analysis of The Catch (1960) and Black Sun (1964) illustrates that for the Japanese, the enplotment of black-American characters emerged from a recognition of isomorphism between the conflict at the nexus of black-American marginalized ethno-racial status yet powerful national identity, and Japan's own ambivalent racial and geopolitical statuses. Chapter two finds that the biracial black Other characters in genre films of the 1970s embodied a mode of otherness against which differences among the Japanese were initially exposed, but ultimately, reconciled. Chapter three bridges the gap in the lack of scholarship around black women in Japanese film and argues that black women's general absence in the postwar imaginary of black-Japanese encounters is why, unlike black men, they are not burdened with the allegorical function of representing political and cultural legacies of the Occupation in films. Chapter four takes a two-pronged approach in explaining the sudden disappearance of blackness from Japanese screens in the 1980s and focuses primarily black-Japanese encounters in American films. At the height of Japan's economic and geopolitical ascent, black-Americanness necessarily becomes less relevant to its process of reflexive self-definition whilst Japanese's reemergence as a threat in the American cultural imaginary for the first time since WWII occasions white American contemplation of itself in relation to both black minority and Japanese foreign others.

ISBN: 9781339328980Subjects--Topical Terms:

1669123
African American Studies.

Projecting Blackness: Japan's Cinematic Encounters with the black-American Other (1948-1993).
LDR:03641nmm a2200349 4500 001 2207331
005 20190916101821.5
008 201008s2015 ||||||||||||||||| ||eng d
020 $a 9781339328980
035 $a (MiAaPQ)AAI3740784
035 $a (MiAaPQ)nyu:12333
035 $a AAI3740784
040 $a MiAaPQ $c MiAaPQ
100 1 $a Citizen, Robyn. $3 3434316
245 1 0 $a Projecting Blackness: Japan's Cinematic Encounters with the black-American Other (1948-1993).
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2015
300 $a 300 p.
500 $a Source: Dissertations Abstracts International, Volume: 77-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Choi, Jung-Bong.
502 $a Thesis (Ph.D.)--New York University, 2015.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
520 $a "Projecting Blackness: Japan's Cinematic Encounters with the black-American Other (1945-1993)" extends studies of 'black Pacific' cultural discourses, Afro-Asian political alliances into the realm of transnational and cross-cultural film analysis. This project is motivated by two research inquiries 1) Why are specific tropes of filmic blackness invoked in Japanese cinema beginning in the postwar period, only to sharply decline during the 1980s? 2) What can the patterns of interracial cinematic encounters in various historical and cultural periods reveal about the perceived relationship between figurative blackness and black-Americans, and Japanese ethno-racial identity and geopolitical status? The first chapter shows that particular tropes of blackness from American social problem films were deterritorialized and adapted in postwar cinemas of the Axis powers, to reflexively contemplate destabilized core narratives of national and cultural identity. However, through analysis of The Catch (1960) and Black Sun (1964) illustrates that for the Japanese, the enplotment of black-American characters emerged from a recognition of isomorphism between the conflict at the nexus of black-American marginalized ethno-racial status yet powerful national identity, and Japan's own ambivalent racial and geopolitical statuses. Chapter two finds that the biracial black Other characters in genre films of the 1970s embodied a mode of otherness against which differences among the Japanese were initially exposed, but ultimately, reconciled. Chapter three bridges the gap in the lack of scholarship around black women in Japanese film and argues that black women's general absence in the postwar imaginary of black-Japanese encounters is why, unlike black men, they are not burdened with the allegorical function of representing political and cultural legacies of the Occupation in films. Chapter four takes a two-pronged approach in explaining the sudden disappearance of blackness from Japanese screens in the 1980s and focuses primarily black-Japanese encounters in American films. At the height of Japan's economic and geopolitical ascent, black-Americanness necessarily becomes less relevant to its process of reflexive self-definition whilst Japanese's reemergence as a threat in the American cultural imaginary for the first time since WWII occasions white American contemplation of itself in relation to both black minority and Japanese foreign others.
590 $a School code: 0146.
650 4 $a African American Studies. $3 1669123
650 4 $a Asian Studies. $3 1669375
650 4 $a Film studies. $3 2122736
690 $a 0296
690 $a 0342
690 $a 0900
710 2 $a New York University. $b Cinema Studies. $3 1022523
773 0 $t Dissertations Abstracts International $g 77-07A.
790 $a 0146
791 $a Ph.D.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3740784