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Journal of Japanese and Korean Cinema Volume 10, 2018 - Issue 2
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Regular Articles

Embedded film, embodied reception: Tsurumi Shunsuke’s autobiographical film criticism

Junko YamazakiDepartment of Asian Languages and Cultures, University of California, Los Angeles, CA, USACorrespondence[email protected]
Pages 130-146 | Published online: 02 Sep 2018

References

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  • Bronson, Adam. 2016. One Hundred Million Philosophers: Science of Thought and the Culture of Democracy in Postwar Japan. Honolulu: University of Hawai‘i Press.
  • Gerow, Aaron. 2010. “Introduction: The Theory Complex.” In Review of Japanese Culture and Society 22, special issue Decentering Theory: Reconsidering the History of Japanese Film Theory.
  • Hanada, Kiyoteru. 1956. “Eiga rondan no shinjintachi.” [The New Faces of Film Criticism in Japan]. Kinema junpō 961, May 15.
  • Harada, Toru. 2001. Tsurumi Shunsuke to kibō no shakaigaku [Tsurumi Shunsuke and the Sociology of Hope]. Kyoto: Sekai Shisōshā.
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  • Russell, Catherine. 2008. The Cinema of Naruse Mikio: Women and Japanese Modernity. Durham: Duke University Press.
  • Tsurumi, Shunsuke. (1952) 1959. “Hitotsu no Nihon eiga-ron: Furisode kyōjo ni tsuite.” [A Certain Theory of Japanese Cinema: On The Mad Woman in Kimono]. In Gokai suru kenri: Nihon eiga o miru [The Right of Misunderstanding: Looking at Japanese Cinema], 3–24. Reprint, Tokyo: Chikuma Shobō.
  • Williams, Raymond. 1977. Marxism and Literature: Marxist Introductions Series. London: Oxford University Press.
  • Wood, Robin. 1998. “Resistance to Definition: Ozu’s ‘Noriko’ Trilogy.” Chap. 2.5 in Sexual Politics and Narrative Film: Hollywood and Beyond. New York: Columbia University Press.
  • Yoshimi, Shun’ya. 1998. “The Condition of Cultural Studies in Japan.” Japanese Studies 18: 1. doi: 10.1080/10371399808727642
  • Yoshimi, Shun’ya. 2003. Karuchuraru tān [Cultural Turn]. Tokyo: Jinbun Shoin.

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