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In contrast to the canonical history of cinema and film theory, often dominated by academic texts and Western and/or male voices, this article presents a casual conversation held in 1961 between four of the most influential women in the post-war Japanese film industry: Kawakita Kashiko,,Yamamoto Kyōko, Tanaka Kinuyo and Takamine Hideko. As they openly discuss their gendered experience in production, promotion, distribution and criticism, their thoughts shed light on the wide range of opportunities available to women in filmmaking, but also on the professional constraints,and concerns which they felt came along with their gender. Their conversation reveals how they measured themselves and their national industry in relation to the West; at times unaware of their pioneer role in world cinema. This piece of self-reflexive criticism contributes to existing research on both womens filmmaking and the industry of Japanese cinema, and invites us to reconsider non-hegemonic film thinking practices and voices.
The purpose of this article is to analyse the ambivalent politics of looking and discourses of gender, class and sexuality in a variety of 1960s–70s Japanese studio-made exploitation films, known as sukeban films. It first contextualises their production within a transnational and domestic shift emphasising sex and violence in film and popular culture. The article then highlights instances where the visual, narrative and discursive articulation of non-conforming femininities flips the gendered power balance, as in the sketches that satirise men’s sexual fetishes for girls. In conclusion, it suggests to understand the filmic construction of young women’s agency, and their bodily and sexual performance, in terms of a recurring modus operandi of Japanese media that ambivalently panders to and co-constitutes youth phenomena.
the Clara Barton Birthplace Museum ( Washington Post , 1921 ). Outside of the United States, too, the idea of a historical Red Cross museum found some followers. In Europe, an individual collector from Salzburg, Austria, curated a museum dedicated to humanitarian rescue missions, in 1929, and in Japan, a Red Cross museum opened its doors some years later. Unlike their American role model, both museums had only a marginal impact, however. The Japanese museum opened only temporarily for
a third never tell anyone about their experience ( McCleary-Sills et al. , 2016 : 225). A 2018 study on health and justice service responses in Northern Uganda confirmed that South Sudanese refugee survivors of sexual and gender-based violence and torture knew of the reporting system but at times questioned the effectiveness of the process ( Liebling et al. , 2020 ). Similarly, the Japan International Cooperation Agency Research Institute’s (JICA-RI) research on the
experienced this, and some have dared to describe this blindness. One was Jack London, the famous American writer sent to Korea to cover the Russo-Japanese war in 1904, who wrote, confused, of ‘black moving specks’, the ‘hubbub’, in short, ‘a war of ghosts’ (quoted in Audouin-Rouzeau, 2008 : 244). And when Le Figaro sent special correspondent Tanguy Berthemet to Sévaré (Mali) as France began its 2013 military operation (Operation Serval), he reported: ‘There is a war in
appears humane. Technology then is not anti-human. It is the only thing that might save us. A point made by the scientist Richard Gatling, who, trying to justify his invention of the gun, noted: ‘If war was made more terrible, it would have a tendency to keep peace among the nations of the earth.’ The same redemptive narrative would be promulgated by those responsible for the atrocious nuclear assault on Japan, in 1945. The tragedy, however, is that the more we seek to regulate or civilise violence by giving ourselves over to the technological account of human
.acordinternational.org/silo/files/conflict-and-gender-study--south-sudan.pdf (accessed 17 June 2021 ). Hutchinson , S. E. ( 1996 ), Nuer Dilemmas: Coping with Money, War, and the State ( Berkeley, CA : University of California Press ). JICA (Japan International Cooperation Agency) ( 2017 ), Country Gender Profile Republic of South Sudan Final Report , www.jica.go.jp/english/our_work/thematic_issues/gender/background/c8h0vm0000anjqj6-att/south_sudan_2017.pdf (accessed 22 August 2021 ). Jok , J. M. ( 1999 ), ‘ Militarism, Gender and Reproductive Suffering: The Case of Abortion in Western Dinka
Technologies in Disaster Settings: The Case of the 2011 Great East Japan Earthquake ’, in O’Hagan , M. and Zhang , Q. (eds), Conflict and Communication: A Changing Asia in a Globalising World ( New York : Nova Science Publishers ), 169 – 94 . Cadwell , P
The new wave of Korean cinema has presented a series of distinct genre productions, which are influenced by contemporary Japanese horror cinema and traditions of the Gothic. Ahn Byeong-ki is one of Korea‘s most notable horror film directors, having made four Gothic horrors between 2000 and 2006. These transnational horrors, tales of possession and avenging forces, have repeatedly been drawn to issues of modernity, loneliness, identity, gender, and suicide. Focusing on the figure of the ghostly woman, and the horrors of modern city life in Korea, this essay considers the style of filmmaking employed by Ahn Byeong-ki in depicting, in particular, the Gothic revelation.
This article reviews the exhibition _Gothic: Dark Glamour_, held at the Fashion Institute of Technology, New York, September 5 2008 – February 21 2009. It also considers the eponymous volume published alongside the exhibition by Valerie Steele and Jennifer Park. The exhibition was the first of international significance to identify and explore the influence of Gothic on contemporary fashion by both major label designers and small subcultural producers. The article hails the exhibition as a landmark event and investigates the various Gothic/fashion narratives it,puts forward, including veiling motifs, subcultural style, grotesque and perverse bodies, and the prevalence of British and Japanese design. The article concludes that the exhibition marks a moment in the glamorisation of the Gothic, in which it moves from being a minority to a mainstream interest.