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

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Filming the Everyday :/
其他題名:	History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan.
作者:	Morisue, Noriko.
面頁冊數:	1 online resource (255 pages)
附註:	Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
Contained By:	Dissertations Abstracts International83-03A.
標題:	Film studies. -
電子資源:	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.
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