Japanese Transnational Cinema: From Kurosawa to Asia Extreme and Studio Ghibli
- Module Code:
- Module Not Running 2021/2022
- FHEQ Level:
- Year of study:
- Year 1 or Year 2
- Taught in:
- Term 1
In this module the transnational nature of contemporary Japanese Cinema will be explored through an analysis of the dynamics that operate between the cultural specificity of the Japanese aesthetic, and the transnational nature of the film industry. Since the 1960s and the decline in domestic box office takings, the major Japanese film production companies increasingly sought distribution markets outside Japan. Therefore, this module, although centred on questions of the aesthetic in relation to contemporary Japanese cinema, is framed within the wider understanding that industrial factors influence content – hence this course is concerned with the transcultural nature of the Japanese aesthetic in a transnational economy of production. On a broader level, it is also concerned with the appropriation of the Japanese aesthetic by international audiences.
Classes are structured around two hour workshop. Where possible a learner centred approach is adopted. Therefore, it is imperative that all students watch the main film and cover the readings each week as these will form the basis for the workshop styled class discussions. Additionally, a list of additional recommended films for private viewing is provided.
Objectives and learning outcomes of the module
The objectives of the module are to encourage students:
- To develop an awareness of contemporary Japanese cinema as part of an international network of financial organisations and not just an isolated aesthetic phenomenon.
- To develop an understanding of the dynamics of the international ‘art house’ cinema circuit and its relation to issues of ‘taste’ and ‘cultural capital’.
- To realise that audiences and ‘identity’ are in part manufactured through marketing strategies.
By the end of the module, students will have developed the following:
- A firm understanding of the interconnectedness of the cinematic aesthetic and the film industry in the age of global finance - changes in industrial structures produce textual effects.
- An understanding of the fluid nature of ‘art house’ auteur cinema as a concept defined primarily by marketing agencies (in the contemporary industry), but historically by critics and audiences in the 1950s and 1960s.
- The conceptual tools and vocabulary with which to analyse critically (not just narrate or describe) a body of film texts from the contexts of their production and reception.
- To engage critically with existing theoretical paradigms and pursue their own particular research interests.
- To identify key research agendas in the study of Cinema in the age of globalisation.
This module will be taught over 10 weeks with 2 hours classroom contact per week in lectures.
Scope and syllabus
The module is effectively divided into three segments focusing on the export of Japanese films from the 1950s; the action and horror films of the Asia Extreme ‘imprint’; and finally, Japanese animation.
Japanese Transnational Cinema, while being relevant to Japanese Area Studies and Art students, seeks to extend the discussion to incorporate contemporary trends in the international film industry (such as marketing and distribution) thus giving Area Studies and Art students a point of contextualisation outside domestic production and reception, while providing a specific case study in media flows for students registered on media focussed degrees. As marketing and distribution strategies are often gender specific in the audiences targeted, the course should still have relevance for students on the Gender Studies degree.
Structure and Syllabus: The course is effectively divided into three segments over a ten-week teaching term:
First, we will examine early attempts by the Japanese film industry to gain international recognition and win ‘cultural capital’ through the international ‘art house’ circuit and at prestigious film festivals. At an aesthetic level, the focus will be the works of Kurosawa Akira, Mizoguchi Kenji and Ozu Yasujirō; we will discuss their uniqueness as well as their incorporations of western Hollywood genre techniques.
Second, we shall focus on the Tartan Video Asia Extreme ‘imprint’ which has effectively established a fan-(boy) cult following in western markets. We will explore the DVD distribution market, the internationalisation of Kitano Takeshi's films, the J-horror genre in the 1990s, and the Japanese action/gangster genre.
Third, we will look at animation from the early success of Akira, shown at the London ICA in the late-1980s, to the internationalisation of the animation films produced by Studio Ghibli. This discussion will be framed from within the policies of mukokuseki (statelessness).
Method of assessment
A 1000 word critical commentary of a film to be submitted by the first day after the reading week of term 1 (30%); an essay of 3,000 words to be submitted by the first day of term 2.
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- Standish, Isolde, Myth and Masculinity in the Japanese Cinema: Towards a Political Reading of the Tragic Hero.
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