<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Please note the publication of this important work on Japanese experimental art, including film.<br><div><div><br></div><blockquote type="cite"><div bgcolor="#ffffff" text="#000000">
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Arts in Postwar Japan: Moments of
Encounter, Engagement, and Imagined
Return</font> <br>
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background-color: transparent; width: 100%;"> <img moz-do-not-send="true" src="http://img-ak.verticalresponse.com/media/7/c/3/7c3f95f63b/a4d645e718/Cover%20of%20Experimental%20Arts%20mini2.jpg?__nocache__=1" style="width: 277px; height: 355px;" alt="Cover of Experimental Arts" title="Cover
of Experimental Arts" align="none" border="0" height="355" hspace="0" vspace="0" width="277"></div>
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Roman'" size="4"><span class="Apple-style-span" style="font-size:
14px;"><b><span class="Apple-style-span" style="font-family:
Arial,Helvetica,sans-serif; font-weight:
normal; font-size: 12px;"><span class="Apple-style-span" style="font-family: 'Times New Roman';
font-size: 14px;"><b><span class="Apple-style-span" style="font-weight: normal;">In
the years of rapid economic growth
following the protest movements of
the 1960s, artists and
intellectuals in Japan searched
for a means of direct impact on
the whirlwind of historical and
cultural transformations of their
time. Yet while the artists often
called for such “direct”
encounter, their works complicate
this ideal with practices of
interruption, self-reflexive
mimesis, and temporal
discontinuity. In an era known for
idealism and activism, some of the
most cherished ideals—intimacy
between subjects, authenticity, a
sense of home—are limitlessly
desired yet always just out of
reach. <br>
<br>
</span></b></span></span></b></span></font><div style="font: normal normal normal 14px/normal 'Times New Roman'; margin-top: 0pt; margin-right: 0pt; margin-bottom: 0pt; margin-left: 0pt; padding-top: 0pt; padding-right: 0pt; padding-bottom: 0pt; padding-left: 0pt; "> <span style="font-size:
12pt; font-family: "MS Mincho";" lang="JA"></span><br>
</div><div style="margin-top: 0pt; margin-right: 0pt; margin-bottom: 0pt; margin-left: 0pt; padding-top: 0pt; padding-right: 0pt; padding-bottom: 0pt; padding-left: 0pt; "><span style="font-size: 12pt;">このたび</span><span style="font-size: 12pt;">ハーバード大学アジアセンターから上梓い
たしました本書は、</span><span style="font-size:
12pt;">1960</span><span style="font-size:
12pt;">年代から</span><span style="font-size:
12pt;">80</span><span style="font-size:
12pt;">年
代初頭にかけて、演劇・映画・ビデオ・舞踏・写真などメディアを横断するかたちで展開された日
本の実験芸術を論じています。日本の芸術家たちの複雑かつ洗
練された実践および理論に光をあてるとともに、現代の批判理論の重要論点をめぐる議論のなかに
日本の実験芸術を位置づけようとする試みです。</span></div>
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normal; font-size: 12px;"><span class="Apple-style-span" style="font-family: 'Times New Roman';
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12px;"><span class="Apple-style-span" style="font-family: 'Times New
Roman'; font-size: 14px;"><b><span class="Apple-style-span" style="font-weight:
normal;">In this book,
Miryam Sas explores the
theoretical and cultural
implications of
experimental arts in a
range of media. Casting
light on important moments
in the arts from the 1960s
to the early 1980s, this
study focuses first on
underground
(post-shingeki) theater
and then on related works
of experimental film and
video, but<span style="font-family:
'Times New Roman';
color: black;"><span class="Apple-style-span" style="font-size:
x-small;">ō</span></span> dance
and photography.
Emphasizing the complex
and sophisticated
theoretical grounding of
these artists through
their works, practices,
and writings, this book
also locates Japanese
experimental arts in an
extensive, sustained
dialogue with key issues
of contemporary critical
theory.</span></b></span></span></b></span></b></span></span></b></div><div style="font: normal normal normal 14px/normal 'Times New Roman'; margin-top: 0pt; margin-right: 0pt; margin-bottom: 0pt; margin-left: 0pt; padding-top: 0pt; padding-right: 0pt; padding-bottom: 0pt; padding-left: 0pt; "><br>
<span style="font-size: 12pt; font-family:
"MS Mincho";" lang="JA"></span></div><div style="font: normal normal normal 14px/normal 'Times New Roman'; margin-top: 0pt; margin-right: 0pt; margin-bottom: 0pt; margin-left: 0pt; padding-top: 0pt; padding-right: 0pt; padding-bottom: 0pt; padding-left: 0pt; "><b><span class="Apple-style-span" style="font-family:
Arial,Helvetica,sans-serif; font-weight:
normal; font-size: 12px;"><span class="Apple-style-span" style="font-family: 'Times New Roman';
font-size: 14px;"><b>Miryam Sas </b>is
Associate Professor of Comparative
Literature and Film and Media at the
University of California, Berkeley.</span></span></b>
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