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    Introduction. The misleading discovery of Japanese National Cinema

    Centeno Martin, Marcos Pablo (2018) Introduction. The misleading discovery of Japanese National Cinema. Arts 7 (4), pp. 87-100. ISSN ISSN 2076-0752.

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    Abstract

    The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text and production-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action films created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.

    Metadata

    Item Type: Article
    Keyword(s) / Subject(s): Japanese cinema, transnational
    School: School of Arts > Cultures and Languages
    Depositing User: Marcos Pablo Centeno Martin
    Date Deposited: 11 Mar 2019 11:10
    Last Modified: 13 Feb 2021 19:19
    URI: https://eprints.bbk.ac.uk/id/eprint/26610

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