(p. ix) List of Contributors
(p. ix) List of Contributors
Eric Cazdyn is professor of cultural and critical theory at the University of Toronto. He is the author of the following books: The Already Dead: The New Time of Politics, Culture and Illness (Duke University Press, 2012), After Globalization (with Imre Szeman, Wiley-Blackwell, 2011), The Flash of Capital: Film and Geopolitics in Japan (Duke University Press, 2002); and editor of Trespasses: Selected Writings of Masao Miyoshi (Duke University Press, 2010) and Disastrous Consequences (SAQ, 2007).
Hideaki Fujiki is professor in cinema and Asian studies at Nagoya University, Japan. He is the author of Making Personas: Transnational Film Stardom in Modern Japan (Harvard University Asia Center, 2013). He is currently completing a book on cinema audience as social subjects in Japan from a global perspective.
Aaron Gerow is professor in Japanese cinema at Yale University. His publications include Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895–1925 (University of California Press, 2010), A Page of Madness: Cinema and Modernity in 1920s Japan (Center for Japanese Studies at the University of Michigan, 2008), and Kitano Takeshi (British Film Institute, 2008). With Abé Mark Nornes he also wrote Research Guide to Japanese Film Studies (University of Michigan Center for Japanese Studies Publication Program, 2009). He also manages the KineJapan mailing list and runs his own Japanese film website Tangemania (www.aarongerow.com). He is currently writing about the history of Japanese film theory and about Japanese cinema of the 1990s.
Shuhei Hosokawa is professor at the International Research Center for Japanese Studies (Kyoto). His principal research fields are music history in modern Japan and Japanese-Brazilian culture. His publications in Japanese include A Long Journey of Japanese Language: The Literature of Japanese-Brazilian Immigrants, 2 volumes (Misuzu Shobo, 2012–13) and Longing for Home Afar (Misuzu Shobo, 2008). He has co-edited Karaoke around the World: Global Technology, Local Singing with Toru Mitsui (Routledge, 1998) and published articles in Cultural Studies, Popular Music, Perfect Beat and other journals.
Dong Hoon Kim is assistant professor of Korean film and literature at the University of Oregon. His research and teaching interests include visual culture, early cinema, film and media spectatorship, and East Asian film, media, and popular culture.
Chika Kinoshita is associate professor of film studies at Tokyo Metropolitan University. Her essays have appeared in Cinema Journal, Camera Obscura, and many edited collections both in English and in Japanese. She is completing a book titled Women on the Edge: The Cinema of Mizoguchi Kenji and Japanese Modernity (Hosei University Press).
(p. x) Hiroshi Kitamura is associate professor of history at the College of William and Mary. He is the author of Screening Enlightenment: Hollywood and the Cultural Reconstruction of Defeated Japan (Cornell University Press, 2010), which won the Shimizu Hiroshi Award from the Japanese Association for American Studies and the Southeast Conference of the Association for Asian Studies Book Prize. He is currently writing a transnational history of Japanese, Hong Kong, and Hollywood Cinema during the 1950s and 1960s. The Japanese-language version of Screening Enlightenment will appear from Nagoya University Press.
Sangjoon Lee is assistant professor in the Department of Screen Arts and Cultures and Asian Languages and Cultures at the University of Michigan, Ann Arbor. Articles he has written on the Asian Film Festival, transnational horror films, South Korean martial arts films and literatures in the 1960s, and contemporary Pan-Asian epic cinemas have appeared in such anthologies and journals as Transnational Cinemas, Coming Soon to a Film Festival Near You, East Asian Cinema and Cultural Heritage, Transnational Horror, and Contemporary Film Studies. He is co-editor, with Abé Mark Nornes, of Hallyu 2.0: Korean Wave in the Age of Social Media (University of Michigan, forthcoming)
Diane Wei Lewis is assistant professor of film and media studies at Washington University in St. Louis. Her research focuses on Japanese cinema and popular culture, gender and sexuality, and performance. She is completing a book on cinema and sensational media after the 1923 Great Kanto Earthquake and developing a project on film in theater and avant-garde practice in prewar Japan.
Kwai-Cheung Lo, professor in the Department of Humanities and Creative Writing, and director of the Creative and Professional Writing Program at Hong Kong Baptist University, is the author of Excess and Masculinity in Asian Cultural Productions (SUNY Press, 2011) and Chinese Face/Off: The Transnational Popular Culture of Hong Kong (University of Illinois Press, 2005). Currently he is working on a book manuscript of ethnic minority cinema in China.
Daisuke Miyao is associate professor of Japanese film and cinema studies at the University of Oregon. He is the author of The Aesthetics of Shadow: Lighting and Japanese Cinema (Duke University Press, 2013), Cinema Is a Cat: Introduction to Cinema Studies (in Japanese, Heibonsha, 2011), and Sessue Hayakawa: Silent Cinema and Transnational Stardom (Duke University Press, 2007).
Abé Mark Nornes is professor of Asian cinema at the University of Michigan, Ann Arbor. He worked in various roles for the Yamagata International Documentary Film Festival for over two decades. His books include Japanese Documentary Film: The Meiji Era through Hiroshima (University of Minnesota Press, 2003), Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary (University of Minnesota Press, 2007), Cinema Babel: Translating Global Cinema (University of Minnesota Press, 2008), and A Research Guide to Japanese Cinema (University of Michigan Center for Japanese Studies Publication Program, 2009).
(p. xi) Hidenori Okada is curator of the National Film Center (NFC), the National Museum of Modern Art, Tokyo. He is involved at NFC in film preservation, programming, education, archiving of nonfilm material, and exhibitions. Okada has contributed essays to numerous books, mainly in Japanese, including Cinema and Greater East Asia Co-Prosperity Sphere (edited by Kenji Iwamoto, Shinwasha, 2004), Documentary Cinema Speaks (edited by Yamagata International Documentary Film Festival, Miraisha, 2006), The Encyclopedia of Indonesia in the Pacific War (edited by William H. Frederick, Iris Heidebrink, and Shigeru Sato, Brill, 2010), Reviving Somai Shinji (edited by Tatsuya Kimura, Jinshi Fujii, and Hideyuki Nakamura, Insukuriputo, 2011), and Images of Postwar Japan: The Documentary Films of Iwanami Productions (edited by Yoshiyuki Niwa and Shunya Yoshimi, University of Tokyo Press, 2012). He has also edited a Japanese anthology, Paris in Cinema (Kashiwa Shobo, 2010).
Michael Raine has taught film studies and Japanese studies at Yale University and the University of Chicago. He is currently assistant professor of film studies at Western University, Canada. He is finishing a manuscript Modernism, Materiality, and ranscultural Mimesis: New Japanese Cinemas, 1955-1964 and has also written on the “culture of the sound image” in 1930s Japan and on wartime cinema in Japan and its territories.
Carlos Rojas is associate professor of Chinese cultural studies, women’s studies, and arts of the moving image at Duke University. He is the author of The Naked Gaze: Reflections on Chinese Modernity (Harvard University Asia Center, 2008), The Great Wall: A Cultural History (Harvard University Press, 2010). He is the co-editor, with David Der-wei Wang, of Writing Taiwan: A New Literary History (Duke University Press, 2007) and, with Eileen Cheng-yin Chow, of both Rethinking Chinese Popular Culture: Cannibalizations of the Canon (Routledge, 2009) and The Oxford Handbook of Chinese Cinemas (Oxford University Press, 2013).
Ayako Saito is professor in the Department of Art Studies at Meiji Gakuin University. She has written articles on film theory from psychoanalytic and feminist perspectives, melodrama, and postwar Japanese cinema. Her publications include “Hitchcock’s Trilogy: A Logic of Mise-en-Scène” (Endless Night: Cinema and Psychoanalysis, Parallel Histories, edited by Janet Bergstrom, University of California Press, 1999), “Reading as a Woman: The Collaboration of Ayako Wakao and Yasuzo Masumura” (Reclaiming the Archive: Feminism and Film History, edited by Vicki Callahan, Wayne State University Press, 2010), “Women and Fantasy: Yoshida Kiju and Okada Mariko” (Yoshida Kiju: 50 Years of Avant-garde Filmmaking in Postwar Japan, edited by Dick Stegewerns, Norwegian Film Institute, 2010). She has also edited a Japanese anthology, Film and Body/Sexuality (Shinwasha, 2006) and co-authored books in Japanese, including Actress Wakao Ayako (Misuzu Shobo, 2003), Male Bonding: East Asian Cinema and Homosociality (Heibonsha, 2004), and Fighting Women: Female Action in Japanese Cinema (Sakuhinsha, 2009).
Miryam Sas is professor of film and media and comparative literature at the University of California, Berkeley. Her most recent book is Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return (Harvard University Asia Center, 2010). Earlier work has explored models for thinking about avant-garde (p. xii) movements cross-culturally (Fault Lines: Cultural Memory and Japanese Surrealism, Stanford University Press, 2001), buto dance (in Butos, edited by Odette Aslan and Béatrice Picon-Vallin, CNRS, 2002), and technology and corporeality (in Histories of the Future, edited by Daniel Rosenberg and Susan Harding, Duke University Press, 2005). She recently contributed an article on intermedia to the catalogue Tokyo: A New Avant- Garde (The Museum of Modern Art, New York, 2012) and has forthcoming writings on experimental animation and Pink film. Her next project focuses on contemporary art from the 1960s to the present with a focus on transcultural media theory.
Ben Singer is professor of film in the Department of Communication Arts at the University of Wisconsin–Madison. He is the author of Melodrama and Modernity: Early Sensational Cinema and Its Contexts (Columbia University Press, 2001) and is currently completing a book on cultural and universal dimensions of melodrama in global filmmaking traditions. His interest in Japanese cinema was enhanced by a semester teaching in the Associated Kyoto Program at Doshisha University.
Mitsuyo Wada-Marciano is associate professor of film studies at Carleton University (Canada). Her research interests are Japanese cinema, especially its relationship to Japanese modernity, the impact of digital technology on cinema, and East Asian cinema in global culture. She is the author of Nippon Modern: Japanese Cinema of the 1920s and 1930s (University of Hawai’i Press, 2008); the Japanese translation was published by Nagoya University Press in 2009. She is also the co-editor of Horror to the Extreme: Changing Boundaries in Asian Cinema (Hong Kong University Press, 2009). Her latest publications are Japanese Cinema in the Digital Age (University of Hawai’i Press, 2012; in Japanese, Nagoya UP, 2010) and the edited book Viewing “Postwar” in the 1950s Japanese Cinema (in Japanese, Seikyusha, 2012). She recently conducted research at Kyoto University for books on the cinema in postoccupation Japan 1952–1960, and on the cinema in colonized Taiwan, 1895–1945.
Ichiro Yamamoto is producer at Shochiku Co., Ltd. He is currently at Shochiku Eizo Center and works on licensing. He was a visiting scholar at the UCLA School of Theater, Film, and Television from 2006 to 2008. The films that he produced include Kyoto Story (Kyoto Uzumasa monogatari, 2010), About Her Brother (Ototo, 2010), Love and Honor (Bushi no ichibun, 2006, also as a co-screenwriter), Quill: The Life of a Guide Dog (2004), Café Lumière (2004), and Twilight Samurai (Tasogare Seibei, 2002).
Alexander Zahlten is assistant professor in the Department of East Asian Languages and Civilizations, Harvard University. His dissertation mapped the structural equivalence of systems of production and dissemination and textual meaning for popular film genres in Japan, such as Pink Film, Kadokawa Film, and V-Cinema. Recent publications have examined the role of postcolonial fantasy in Korean “remakes” of Japanese films, the question of categories in a media mix environment, and the history of German sexploitation cinema. He has curated film programs for institutions such as the German Film Museum and the Athene Francais Cultural Center, Tokyo, and was program director for the Nippon Connection Film Festival, the largest festival for film from Japan, from 2002 to 2010.