The Cinema of Naruse Mikio Women and Japanese Modernity 1st Edition by Catherine Russell ISBN 0822388685 9780822388685

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ISBN 10: 0822388685

ISBN 13: 9780822388685

Author:  Catherine Russell 

The Cinema of Naruse Mikio: Women and Japanese Modernity 1st Edition: One of the most prolific and respected directors of Japanese cinema, Naruse Mikio (1905–69) made eighty-nine films between 1930 and 1967. Little, however, has been written about Naruse in English, and much of the writing about him in Japanese has not been translated into English. With The Cinema of Naruse Mikio, Catherine Russell brings deserved critical attention to this under-appreciated director. Besides illuminating Naruse’s contributions to Japanese and world cinema, Russell’s in-depth study of the director sheds new light on the Japanese film industry between the 1930s and the 1960s.

Naruse was a studio-based director, a company man renowned for bringing films in on budget and on time. During his long career, he directed movies in different styles of melodrama while displaying a remarkable continuity of tone. His films were based on a variety of Japanese literary sources and original scripts; almost all of them were set in contemporary Japan. Many were “women’s films.” They had female protagonists, and they depicted women’s passions, disappointments, routines, and living conditions. While neither Naruse or his audiences identified themselves as “feminist,” his films repeatedly foreground, if not challenge, the rigid gender norms of Japanese society. Given the complex historical and critical issues surrounding Naruse’s cinema, a comprehensive study of the director demands an innovative and interdisciplinary approach. Russell draws on the critical reception of Naruse in Japan in addition to the cultural theories of Harry Harootunian, Miriam Hansen, and Walter Benjamin. She shows that Naruse’s movies were key texts of Japanese modernity, both in the ways that they portrayed the changing roles of Japanese women in the public sphere and in their depiction of an urban, industrialized, mass-media-saturated society.

 

The Cinema of Naruse Mikio: Women and Japanese Modernity 1st Edition Table of contents:

INTRODUCTION: THE AUTEUR AS SALARYMAN

• A Short History
• Auteurism and Rescuing Critique
• The Japanese Woman’s Film
• Subjectivity and Spectatorship

1: THE SILENT FILMS: WOMEN IN THE CITY, 1930–1934

• Shochiku-Kamata Style and Japanese Modernity Theory
• Not Blood Relations
• Apart from You
• Every Night Dreams
• Street without End
• Japanese Modernity and Interwar Cinema

2: NARUSE AT P.C.L.: TOWARD A JAPANESE CLASSICAL CINEMA, 1935–1937

• Three Sisters with Maiden Hearts
• The Actress and the Poet
• Wife! Be Like a Rose!
• Five Men in the Circus
• The Girl in the Rumor
• Tochuken Kumoemon
• The Road I Travel with You
• Morning’s Tree-Lined Street
• Feminine Melancholy
• Avalanche
• Learn from Experience
• Melodrama and Japanese Classical Cinema

3: NOT A MONUMENTAL CINEMA: WARTIME VERNACULAR, 1938–1945

• Back to Japan
• Slices of Life
• Hideko the Bus Conductor
• Wartime Vernacular

4: THE OCCUPATION YEARS: CINEMA, DEMOCRACY, AND JAPANESE KITSCH, 1945–1952

• A Descendant of Urashima Taro
• Both You and I
• Spring Awakens
• Even Parting Is Enjoyable
• Professor Ishinaka
• The Angry Street
• White Beast
• The Battle of Roses
• Ginza Cosmetics
• Dancing Girl
• Meshi
• Okuni and Gohei

5: THE JAPANESE WOMAN’S FILM OF THE 1950S, 1952–1958

• Mother and Genre Revisionism
• Lightning
• Husband and Wife
• Wife
• Older Brother, Younger Sister
• Sound of the Mountain
• Late Chrysanthemums
• Floating Clouds
• Sudden Rain
• A Wife’s Heart
• Flowing
• Untamed and Anzukko
• Naruse, Cinema, and Haiku

6: NARUSE IN THE 1960S: STRANDED IN MODERNITY, 1958–1967

• Summer Clouds
• Whistling in Kotan
• When a Woman Ascends the Stairs
• Daughters, Wives, and a Mother
• Tokyo in 1960: Two Films
• Three Woman’s Films of the 1960s
• Horoki
• Yearning
• The Stranger within a Woman
• Hit and Run
• Scattered Clouds
• A Late Cinema

CONCLUSION

 

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