Killers, Clients and Kindred Spirits : : The Taboo Cinema of Shohei Imamura / / Lindsay Coleman, David Desser.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2019
• VerfasserIn: Coleman, Lindsay,; Desser, David,
• MitwirkendeR: Berra, John,; Bingham, Adam,; Briciu, Bianca,; Coates, Jennifer,; Coleman, Lindsay,; Deamer, David,; Denison, Rayna,; Desser, David,; Iles, Timothy,; Karlsson, Mats,; Kitamura, Hiroshi,; Kitsnik, Lauri,; Lewis, Diane Wei,; Martinez, Dolores P.,; Mellen, Joan,; Mihalopoulos, Bill,; Raine, Michael,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2019
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Studies in East Asian Film : ESEAF
• Physical Description: 1 online resource (360 p.) :; 47 B/W illustrations

A thorough exploration of the work of one of Japan’s most controversial directorsThe only Japanese director to have won the Palme d’Or from Cannes more than once, and second only to Ozu Yasujiro in the number of times he has won the prestigious Kinema Jumpo Best One award, the late Imamura Shohei was one of Japan’s leading and most controversial film directors. This book is one of the first to study all of Imamura’s major films alongside his television and theatrical documentaries, focusing on his major themes and concerns. By giving shape to Imamura’s career, the book positions him as a stylistic innovator as well as an ethnographic investigator into Japanese culture and tradition; the preeminent examiner of the hidden, barely repressed underpinnings of Japanese society.Key featuresThe first book to look at the entire career of Imamura ShoheiIncorporates the work of top Japanese Cinema scholars from the US, UK, Australia, Canada and JapanOrganised by thematic concerns that cut across Imamura’s careerAbout the Contributors:John Berra, Renmin University of ChinaAdam Bingham, SOAS, University of LondonBianca Briciu, Carleton University and St. Paul University, OttawaJennifer Coates, University of East Anglia Lindsay Coleman, independent scholarDavid Deamer, Manchester Metropolitan UniversityRayna Denison, University of East Anglia David Desser, University of Illinois Timothy Iles, University of Victoria, CanadaMats Karlsson, University of SydneyHiroshi Kitamura, College of William and Mary Lauri Kitsnik, Kyoto UniversityDiane Wei Lewis, Washington University in St. LouisDolores P. Martinez, SOAS, University of London and University of OxfordJoan Mellen, Emerita, Temple University Bill Mihalopoulos, University of Central LancasterMichael Raine, Western University, Canada

Table of Contents

Frontmatter -- Contents -- List of Figures -- Notes on the Contributors -- 1 Introduction -- 2 The Making of an Auteur: The Early Films (1958–1959) -- PART I KILLERS -- 3 Confronting America: Pigs and Battleships and the Politics of US Bases in Postwar Japan -- 4 Insect Men and Women: Gender, Conflict and Problematic Modernity in Intentions of Murder -- 5 Hidden in Plain Sight: The False Leads and True Mysteries of Vengeance Is Mine -- 6 The Eel: Trauma Cinema -- PART II CLIENTS -- 7 The Insect Woman, or: The Female Art of Failure -- 8 The Obscene in the Everyday: The Pornographers -- 9 Shohei Imamura’s Profound Desire for Japan’s Cultural Roots: Critical Approaches to Profound Desires of the Gods -- 10 “Products of Japan”: Karayuki-san, The Making of a Prostitute -- 11 The Female Body as Transgressor of National Boundaries: The History of Postwar Japan as Told by a Bar Hostess -- PART III KINDRED SPIRITS -- 12 Better Off Being Bacteria: Adaptation and Allegory in Dr. Akagi -- 13 Time Out of Joint: Shohei Imamura and the Search for an “Other” Japan -- 14 Promotional Discourses and the Meanings of The Ballad of Narayama -- 15 Boundary Play: Truth, Fiction, and Performance in A Man Vanishes -- 16 Why Not? Imamura, Nietzsche, and the Untimely -- 17 Kuroi Ame: An Anthropology of Suffering -- 18 The Symbolic Function of Water -- Index