195
Views
0
CrossRef citations to date
0
Altmetric
Special Section: In/visibility in Post-war Okinawan Images 2

The Living Sea: Okinawa, 1958 and the postwar media Dispositif

References

  • Albera, François, and Maria Tortajada. 2015. “The Dispositive Does Not Exist!” In Cine-Despositives: Essays, edited by François Albera, and Maria Tortajada, 21–44. Amsterdam: Amsterdam University Press.
  • Baudry, Jean-Louis. 1974–1975. “Ideological Effects of the Basic Cinematographic Apparatus.” Translated by Alan Williams, Film Quarterly 28 (2): 39–47.
  • Centeno Martin, Marcos P. 2019. “Postwar Narratives and the Avant-Garde Documentary: Tokyo 1958 and Furyō Shōnen.” In Persistently Postwar: Media and the Politics of Memory in Japan, edited by Blai Guarné, Attur Lozeno-Méndez, and Dolores P. Martinez, 41–62. New York: Berhhahn.
  • Desser, David. 1988. Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema. Bloomington: Indiana University Press.
  • Desser, David. 2014. “The Gunman and the Gun: Japanese Film Noir Since the Late 1950s.” In International Noir, edited by Homer B. Pettey, and R. Barton Palmer, 112–135. Edinburgh: Edinburgh University Press.
  • Escobar, Arturo. 2011. Encountering Development: The Making and Unmaking of the Third World. Princeton: Princeton University Press.
  • Gerow, Aaron. 2003. “From the National Gaze to Multiple Gazes: Representations of Okinawa in Recent Japanese Cinema.” In Island of Discontent: Okinawan Responses to Japanese and American Power, edited by Laura Hein, and Mark Selden, 273–307. New York: Rowman & Littlefield Publishers.
  • Gerow, Aaron. 2017. “From Film to Television: Early Theories of Television in Japan.” In Media Theory in Japan, edited by Marc Steinberg, and Alexander Zahlten, 33–51. Durham: Duke University Press.
  • Gunning, Tom. 1997. “Before Documentary: Early Nonfiction Films and the ‘View’ Aesthetic.” In Uncharted Territory: Essays on Early Nonfiction Film, edited by Daan Hertogs, and Nico de Klerk, 9–25. Amsterdam: Stichtung Nederlands Filmmuseum.
  • Hani, Susumu. 1960. Kamera to maiku. [Camera and Microphone]. Tokyo: Chūō Kōronsha.
  • Hatano, Kanji. 1958. “Terebijon to kyōiku.” [Television and Education]. Shisō 413: 53–68.
  • Hirasawa, Go. 2003. “The Rise of Underground Cinema and the Early Years of ATG.” In Art Theatre Guild: Unabhängiges Japanisches Kino 1962-1984, edited by Roland Domenig, and Andreas Ungerböck, 25–29. Vienna: Viennale und des Filmmuseums.
  • Inada, Tatsuo. 1962. Eiga kyōiku undō sanjū-nen [Thirty Years of Film Education Movement]. Tokyo: Nihon Eiga Kyōiku Kyōkai.
  • Inada, Tatsuo, Yoshio Sekine, Kanji Hatano, and Tatsuo Moriwaki, roundtable discussion. 1958. “Shikaku kyōiku no sanjū-nen.” [Thirty Years of Visual Education]. Shichōkaku kyōiku 12 (1): 20–29.
  • Jesty, Justin. 2019. “Image Pragmatics and Film as a Lived Practice in the Documentary Work of Hani Susumu and Tsuchimoto Noriaki.” Arts 8 (41): 1–18.
  • Kawasaki-shi Shimin Mūjiamu Shinematēku [Kawasaki City Museum Cinematheque]. 2019. “Iwanami Eiga Seisakusho shusshin no kantoku-tachi” [Directors from Iwanami Productions] * Retrospective catalog.
  • Kinoshita, Chika. 2011. “The Benshi Track: Mizoguchi Kenji’s The Downfall of Osen and the Sound Transition.” Cinema Journal 50 (3): 1–25.
  • Kitagawa, Fuyuhiko. 1961. “‘Kiroku’teki ‘geki’eiga toshite no Furyō shōnen.” [Bad Boys as ‘Documentary’ ‘Fiction]. Kinema Junpō, 278.
  • Kuno, Hisao, and Kazuhiro Kamemoto. 2004. “Terebi no gijutsushi.” [Technological History of Television]. Dengakuron A 124 (8): 695–704.
  • Larkin, Brian. 2008. Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria. Durham: Duke University Press.
  • Lewin, Kurt. 1936. Principles of Topological Psychology. New York: McGraw-Hill.
  • Mitman, Gregg. 1993. “Cinematic Nature: Hollywood Technology, Popular Culture, and the American Museum of Natural History.” Isis 84 (4): 637–661.
  • Mizoi, Yūichi. 2018. Suizokukan no bunkashi. [Cultural History of Aquariums]. Tokyo: Bensei Shuppan.
  • Nihon Shichōkaku Kyōiku Kyōkai [Japan Audio-Visual Education Association or JAVEA], ed. 2008. Shichōkaku Kyōkai hachiju-nen no ayumi. [Audio-Visual Association Eighty Years of History]. Tokyo: Nihon Shichōkaku Kyōiku Kyōkai.
  • Parrott, Michael. 1966. “The Politics of Color Television.” The World Today 22 (6): 252–260.
  • Peters, John Durham. 2015. The Marvelous Clouds: Toward a Philosophy of Elemental Media. Chicago: University of Chicago Press.
  • Philips, Alastair. 2020. “The City: Tokyo 1958.” In The Japanese Cinema Book, edited by Hideaki Fujiki, and Alastair Philips, 419–435. New York: British Film Institute.
  • Pratt, Mary Louise. 1992. Imperial Eyes: Travel Writing and Transculturation. New York: Routledge.
  • Raine, Michael. 2000. “Ishihara Yûjirô: Youth, Celebrity, and the Male Body in Late-1950s Japan.” In Word and Image in Japanese Cinema, edited by Dennis Washburn, and Carole Cavanaugh, 202–225. Cambridge: Cambridge University Press.
  • Raine, Michael. 2019. “The Cold War as Media Environment in 1960s Japanese Cinema Cold War.” In The Cold War and Asian Cinema, edited by Poshek Fu, and Man Fung Yip, 119–138. New York: Routledge.
  • Rosaldo, Renato. 1989. “Imperialist Nostalgia.” Representations 26: 107–122.
  • Ryūkyū Eiga Bōeki Kikaku-bu [Ryukyu Eiga Trade Planning Divison], ed. 1958. Okinawa roke no gaiyō: Iwanami eiga ‘Suizokukan.’ [Notes on Location Shooting in Okinawa: Iwanami film Aquarium]. Okinawa: Ryūkyū Eiga Bōeki.
  • Schwoch, James. 2009. Global TV: New Media and the Cold War, 1946-69. Chicago: University of Illinois Press.
  • Sera, Toshikazu. 2013. “Hakkutsu Okinawa eigashi.” [Discovering Okinawan Film History]. Ryūkyū Shinpō, December 26: 19.
  • Shimabuku, Annmaria M. 2018. Alegal: Biopolitics and the Unintelligibility of Okinawan Life. New York: Fordham University Press.
  • Skvirsky, Salomé Aguilera. 2017. “Realism, Documentary, and the Process Genre in Early New Latin American Cinema.” In The Routledge Companion to Latin American Cinema, edited by Marvin D’Lugo, Ana M. López, and Laura Podalsky, 119–132. New York: Routledge.
  • Skvirsky, Salomé Aguilera. 2020. The Process Genre: Cinema and the Aesthetic of Labor. Durnham: Duke University Press.
  • Sōmushō [Ministry of Intrenal Affairs and Communications or MIC], ed. 1962. Tsushin Hakusho [White Paper Information and Communications in Japan]. Tokyo: Sōmushō.
  • Toba, Kōji. 2014. “Tōkyō Tawā towa nanika.” [What Is Tokyo Tower?] In Sengo fukkō kara kōdo seichō e [Images of Postwar Japan: From Reconstruction to High Growth], edited by Yoshiyuki Niwa, and Shun’ya Yoshimi. 193–210. Tokyo: Tokyo Daigaku Shuppan.
  • Tomiyama, Ichiro. 1995. “Colonialism and the Sciences of the Tropical Zone: The Academic Analysis of Difference in ‘the Island Peoples.’” Positions 3 (2): 367–391.
  • Tomota, Yoshiyuki. 2009. “'Eizo ronsoï' aruiwa 'eizo to gengo ronsoï' shiron." [A Hypothesis of Montage Debate or Image and Language Debate.” Eizogaku 82: 63–81.
  • Virilio, Paul. 1989. War and Cinema: The Logistics of Perception. New York: Verso.
  • Williams, Raymond. 1954. “Film and the Dramatic Tradition.” In Preface to Film, edited by Raymond Williams, and Michael Orrom, 1–56. London: Film Drama.
  • Williams, Raymond. 1977. Marxism and Literature. Oxford: Oxford University Press.
  • Williamson, Colin. 2019. “Nature and the Wonders of the Moving Image: John Ott's Postwar Popular Science Filmmaking.” Film History 31 (3): 27–54.
  • Yagishita, Teiichi. 1955. “Eiga kyōshitsu to eiri shugi.” [Film Classroom and Commercialism]. Shichōkaku kyōiku 90: 20–23.
  • Yamaguchi, Katsunori, and Yasushi Watanabe. 1977. Nihon animēshon eigashi [The History of Japanese Animation]. Osaka: Yūbunsha.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.