Cinema of actuality :Japanese avant-garde filmmaking in the season of image politics
- 作者: Furuhata, Yuriko,
- 出版: Durham : Duke University Press 2013.
- 稽核項: ix, 266 pages :illustrations ;24 cm.
- 叢書名: Asia-Pacific : culture, politics, and society
- 標題: Motion pictures , Political aspectsHistory , Motion pictures Political aspects -- Japan -- History -- 20th century. , Motion pictures Japan -- History -- 20th century. , History
- ISBN: 0822355043 , 9780822355045
- 附註: 102年國科會補助人文及社會科學研究圖書設備計畫主題:藝術學:華語電影研究. Includes bibliographical references (pages 239-255) and index. Intermedial experiments and the rise of the Eizo discourse -- Cinema, event, and artifactuality -- Remediating journalism: politics and the media event -- Diagramming the landscape: power and the fukeiron discourse -- Hijacking television: news and militant cinema.
- 摘要: "During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events. Known as the 'season of politics,' the era was filled with widely covered dramatic events from hijackings and hostage crises to student protests. This season of politics was, Yuriko Furuhata argues, the season of image politics. Well-known directors, including Oshima Nagisa, Matsumoto Toshio, Wakamatsu Kōji, and Adachi Masao, appropriated the sensationalized media coverage of current events, turning news stories into material for timely critique and intermedial experimentation. Cinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television. Furuhata demonstrates how avant-garde filmmaking intersected with media history, and how sophisticated debates about film theory emerged out of dialogues with photography, television, and other visual arts"--Publisher description.
- 系統號: 005255640
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events. Known as the "season of politics," the era was filled with widely covered dramatic events from hijackings and hostage crises to student protests. This season of politics was, Yuriko Furuhata argues, the season of image politics. Well-known directors, including Oshima Nagisa, Matsumoto Toshio, Wakamatsu Kōji, and Adachi Masao, appropriated the sensationalized media coverage of current events, turning news stories into material for timely critique and intermedial experimentation. Cinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television. Furuhata demonstrates how avant-garde filmmaking intersected with media history, and how sophisticated debates about film theory emerged out of dialogues with photography, television, and other visual arts.
來源: Google Book
來源: Google Book
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