[KineJapan] New Book

[Hideaki Fujiki]

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.

Best wishes,
Hideaki



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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
http://www.unp.or.jp/ISBN/ISBN978-4-8158-0938-6.html

Introduction
		-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
		-“New Audience”
		-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
		-Hidden Centrality
		-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"

Conclusion

  



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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
JAPAN 464-8601
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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