[KineJapan] New Book
hfuji at nagoya-u.jp
Wed Feb 13 06:41:45 EST 2019
Dear List Members,
Sorry for this shameless self-promotion of my new Japanese-written book, Who Is the Cinema Audience?: A History of Media and Social Subjects <http://www.unp.or.jp/ISBN/ISBN978-4-8158-0938-6.html>, which, though not exhaustively, deals with a hundred-year history of Japanese cinema and media from the 1910s until the 2010s.
I wanted to post this particularly because in this book I try to radically reconsider recent historical writings on Japanese cinema and media as well as modern Japanese historiography in general in terms of cinema audience/spectator, historical contingency, and transmediality, all of which I try to theorize as a set of analytical frameworks. I also try to historicize cinema/media/cultural/political theories, gender, nationalism, imperialism, neoliberalism, total war, postwar, propaganda, urban/rural locality, affect, risk, social movement, network, citizenship, radio/television, social media, and so on. (Earlier versions of some parts have been published, but I have revised them to a large extent.)
I hope that the book will boost a debate in Japanese cinema studies among other fields, as well as that it will be pedagogically useful.
I am planning to publish an English edition, but it will take a few more years.
Lastly, I want to extend my gratitude to some people on this listserve for their generous encouragement and helpful comments on earlier versions.
Very rough English translation of TOC
Who is the Cinema Audience?: A History of Media and Social Subjects, 1910s-2010s.
University of Nagoya Press, 2019, 680 pages
-Approaching to Cinema Audience
-Social Subjects and History in Contingency
PART I MINSHŪ/THE PEOPLE
Chap. 1 The Emergence of the Social Subject: “The People” and Cinema Audience by Popular Amusements and Social Education
-“The People” as a Social Problem: Class, Voluntariness, Gender
-Cinema as a Popular Amusement and “the People”
-Cinema as a Social Education and “the People”
-“The People”/Cinema Audience as the Subject of the “Society"
PART II KOKUMIN/THE NATIONAL
Chap. 2 Total War and Transmedial Consumer Culture: Around the Re-definition and Contradictions of "the National”
-Re-defining “the National”: Updating “the People”
-Transmedial Consumer Culture and “the Masses”
-Consumer Subject’s Experiences
-Becoming “the National”: (Anti-)Capitalism, Class, Gender
-The Total War Regime and Media Ecology
Chap. 3 Mobilizing Them Into "the National”: Cinema Audience and the Total War, and the Postwar
-The Power Specific to Cinema
-Film Regulations and Consumer Culture
-Disavowing Contradictions and Conflicts: Consumer Culture, Locality, Gender
-“National Cinema” and “Culture Cinema”
-The Postwar Period, and the Contemporary Period
PART III TŌA MINZOKU/EAST ASIAN RACE
Chap. 4 Inventing and Imagining the “East Asian Race”: The Fantasy of the Japanese Empire and Mobilization Through Films
-The Empire and “East Asian Race”
-The Empire and Film Policy
-The Fantasy of Unity
-Appealing to the Body, or “Spirit” and Science
-The System of Mobilization and Cinema
-The Empire and Capitalism
-Outside the Capitalism
-The Post-Empire: Oblivion and Fantasy
PART IV TAISHŪ/THE MASSES
Chap. 5 The Politics of "the Masses” Towards the Televisual and Atomic Age: The Theories of Mass Society, Mass Culture, and Mass Communication
-The Emergence of the Politics of “the Masses": Its Discursive Formation in Prewar and Wartime Japan
-“The Masses” Immanent in the System: The Theory of Mass Society
-“The Masses” on the Threshold of the System: The Theory of Mass Culture
-(De-)politicizing “the Masses”: The Theory of Mass Communication
Chap. 6 "The Masses” as Democratic Subjects: Re-assembling the Transmedial Consumer Culture Through the Diffusion of Television, and Cinema Audience
-The Democratic Subject of Consumer-life: Discourses on Television
-Re-assembling the Transmedial Consumer Culture
-The Democratic Subject of Modernist Politics: Re-defining Cinema Audience
-Have “the Masses” Disappeared?
PART V SHIMIN/CITIZENS
Chap. 7 “Citizens" as Vulnerable Subjects: Individualizing and Networking in the Ages of the Postwar and Risk
-Historical Assembling of “Citizens”
-The Age of Risk: The Flexible, Precarious, Self-disciplinary, and Self-responsible Subject
-The Network of Power and the Networking of Territory-Aspired “Citizens”
Chap. 8 “Citizens’” Porous Intimate-Public Sphere: Transmedial Social Movement Through Independent Film Screening Events and Social Media
-Network of the Intimate-Sphere: Re-assembling “Citizens”
-Updating Social Movements and Social Media
-Independent Film Screening Events by “Citizens"
Hideaki Fujiki <https://eizogaku.wordpress.com/%E3%81%93%E3%81%AE%E3%82%B5%E3%82%A4%E3%83%88%E3%81%AB%E3%81%A4%E3%81%84%E3%81%A6/%E8%97%A4%E6%9C%A8%E7%A7%80%E6%9C%97%EF%BC%88fujiki-hideaki%EF%BC%89%E6%95%99%E6%8E%88/>, PhD
Professor, Cinema Studies <https://eizogaku.wordpress.com/>
Center for Transregional Culture and Society <https://www.hum.nagoya-u.ac.jp/tcs/>,
Graduate School of Humanities, Nagoya University <http://profs.provost.nagoya-u.ac.jp/view/html/100002526_en.html>
1 Furo-cho, Chikusa-ku, Nagoya, Aichi
email: hfuji at nagoya-u.jp
(The older address, hfuji at lit.nagoya-u.ac.jp, expires at the end of March, 2019.)
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