Three new Japanese film books (E+J)

[Aaron Gerow]

I also introduced this on my blog (www.aarongerow.com -- complete with  
pictures!), but I wanted to note the publication of some excellent  
books on cinema by colleagues in Japan.
Gendai eiga shisoron no yukue $B8=Be1G2h;WA[O@$N9TJ}(B

Edited by Yamada Kohei $B;3ED9,J?(B

Koyo Shobo $B98MN=qK<(B, 2010.

This is an anthology featuring some of my colleagues from the Japan  
Society of Image Arts and Sciences, 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.
Eiga to iu tekunoroji keiken $B1G2h$H$$$&%F%/%N%m%8!<7P83(B

By Hase Masato $BD9C+ at 5?M(B

Seikyusha $B at D5]<R(B, 2010

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 Visions of Japanese Modernity.) 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.

Itagaki Takaho: Kurashikku to modan $BHD3 at BkJf!!%/%i%7%C%/$H%b%@%s(B

Edited by Omuka Toshiharu $B8^==EBMx<#(B

Shinwasha $B?9OC<R(B, 2010

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  
Horino Masao. 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.

Aaron Gerow
Associate Professor
Film Studies Program/East Asian Languages and Literatures
Director of Undergraduate Studies, Film Studies
Yale University
53 Wall Street, Room 316
PO Box 208363
New Haven, CT 06520-8363
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6764
e-mail: aaron.gerow at yale.edu
site: www.aarongerow.com



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