<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div class="collection-navigation text-navigation"><div class="next-page"><font face="Arial">I also introduced this on my blog (<a href="http://www.aarongerow.com">www.aarongerow.com</a> -- complete with pictures!), but I wanted to note the publication of some excellent books on
cinema by colleagues in Japan.</font></div></div><div class="article no-callout"><div class="article-content"><div class="RichTextElement"><div><p><font face="Arial"><b>Gendai eiga shisoron no yukue $B8=Be1G2h;WA[O@$N9TJ}(B</b></font></p><p><font face="Arial">Edited by Yamada Kohei $B;3ED9,J?(B</font></p><p><font face="Arial">Koyo Shobo $B98MN=qK<(B, 2010.</font></p><p><span style="font-family: Arial;">This is an anthology featuring some of my colleagues from the </span><span style="font-family: Arial;"><a href="http://jasias.jp/" target="_blank">Japan Society of Image Arts and Sciences</a></span><span style="font-family: Arial;">,
including Yamada Kohei, Kondo Kojin, Toyohara Masatomo, Nagata Shozo,
and Sasagawa Keiko. The book features essays on a wide variety of
topics, including Benjamin, Joyce, Okamoto Kihachi, Ozu, Hanada
Kiyoteru, Kurosawa Akira, Japanese art animation, Oshii Mamoru, Miyazaki
Hayao, Woody Allen, Angelopoulos, Indian mythical cinema, and film
music. </span><br>
</p><p><span class="Apple-style-span" style="font-family: Arial; "><b>Eiga to iu tekunoroji keiken $B1G2h$H$$$&%F%/%N%m%8!<7P83(B</b></span></p><p><span style="font-family: Arial;">By Hase Masato $BD9C+@5?M(B</span></p><p><span style="font-family: Arial;">Seikyusha $B@D5]<R(B, 2010</span></p><p><span style="font-family: Arial;">This is collection of some of the
articles by a good friend at Waseda University, Hase Masato. (He is
currently supervising the Japanese translation of my <a href="http://www.aarongerow.com/books/visions.html">Visions of Japanese Modernity</a>.)
It starts with an archaeology of cinema focusing on the Lumiere
Brothers and then continues thinking about technology through the films
of Yamanaka Sadao, Makino Masahiro, Miyazaki Hayao, Howard Hawks, and
Chaplin. Another section focuses on the issue of fiction, first from the
perspective of censorship and then through D.W. Griffith. A final
section considers the issue of time and memory in Ozu, Coppola, and
others.</span></p><p><span class="Apple-style-span" style="font-family: Arial; "><b>Itagaki Takaho: Kurashikku to modan $BHD3@BkJf!!%/%i%7%C%/$H%b%@%s(B</b></span></p><p><font face="Arial">Edited by Omuka Toshiharu $B8^==EBMx<#(B</font></p><p><font face="Arial">Shinwasha $B?9OC<R(B, 2010</font></p><p><font face="Arial">This is not strictly a film book, but an anthology
on an important Japanese theorist of modern art, Itagaki Takaho, who
for a time also wrote a lot about cinema as a new machine art. Properly
an art historian who specialized in the Renaissance, his visit to Europe
in the 1920s prompted him to seriously consider the influence of
machines like the motion picture camera on art. His activities went
beyond thinking and extended to collaborations with modern photographers
like <a href="http://en.wikipedia.org/wiki/Masao_Horino" target="_blank">Horino Masao</a>.
The essay by Iwamoto Kenji is the only one in the book directly on
Itagaki's film writings, but all together the articles provide a
fascinating view of an important theorist. </font></p></div></div></div></div><div apple-content-edited="true"> <span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-size: medium; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Aaron Gerow</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Associate Professor</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Film Studies Program/East Asian Languages and Literatures</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Director of Undergraduate Studies, Film Studies</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Yale University</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">53 Wall Street, Room 316</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">PO Box 208363</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">New Haven, CT 06520-8363</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">USA</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Phone: 1-203-432-7082</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Fax: 1-203-432-6764</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">e-mail: <a href="mailto:aaron.gerow@yale.edu">aaron.gerow@yale.edu</a></div><div>site: <a href="http://www.aarongerow.com">www.aarongerow.com</a></div><br class="Apple-interchange-newline"></span><br class="Apple-interchange-newline"></span></div></span></div></span></div></span> </div><br></body></html>