MARC Record from harvard_bibliographic_metadata

LEADER: 02862cam a2200385 a 4500
001 013636163-3
005 20130422133134.0
008 120821s2013 ncua b 001 0 eng c
010 $a 2012033713
020 $a9780822354079 (cloth : alk. paper)
020 $a0822354071 (cloth : alk. paper)
020 $a9780822354222 (pbk. : alk. paper)
020 $a0822354225 (pbk. : alk. paper)
035 $a(PromptCat)99953106148
035 0 $aocn798613313
040 $aNcD/DLC$beng$cNDD$dDLC$dBTCTA$dBDX$dOCLCO$dERASA$dYDXCP$dORU$dBWX
042 $apcc
043 $aa-ja---
050 00 $aPN1993.5.J3$bM56 2013
082 00 $a777.092$223
100 1 $aMiyao, Daisuke.
245 14 $aThe aesthetics of shadow :$blighting and Japanese cinema /$cDaisuke Miyao.
260 $aDurham :$bDuke University Press,$c2013.
300 $axi, 381 p. :$bill. ;$c24 cm.
504 $aIncludes bibliographical references (p. [329]-364) and index.
505 0 $aWhat is the aesthetics of shadow? -- Lighting and capitalist-industrial modernity : Shochiku and Hollywood -- Flashes of the sword and the star : Shochiku and Jidaigeki -- Street films : Shochiku and Germany -- The aesthetics of shadow : Shochiku, Toho, and Japan -- The cinematography of Miyagawa Kazuo.
520 $aIn this revealing study, Daisuke Miyao explores "the aesthetics of shadow" in Japanese cinema in the first half of the twentieth century. This term, coined by the production designer Yoshino Nobutaka, refers to the perception that shadows add depth and mystery. Miyao analyzes how this notion became naturalized as the representation of beauty in Japanese films, situating Japanese cinema within transnational film history. He examines the significant roles lighting played in distinguishing the styles of Japanese film from American and European film and the ways that lighting facilitated the formulation of a coherent new Japanese cultural tradition. Miyao discusses the influences of Hollywood and German cinema alongside Japanese Kabuki theater lighting traditions and the emergence of neon commercial lighting during this period. He argues that lighting technology in cinema had been structured by the conflicts of modernity in Japan, including capitalist transitions in the film industry, the articulation of Japanese cultural and national identity, and increased subjectivity for individuals. By focusing on the understudied element of film lighting and treating cinematographers and lighting designers as essential collaborators in moviemaking, Miyao offers a rereading of Japanese film history.
650 0 $aMotion picture industry$zJapan$xHistory.
650 0 $aCinematography$xLighting.
650 0 $aCinematographers$zJapan.
650 0 $aCulture in motion pictures.
610 20 $aShōchiku Kabushiki Kaisha.
899 $a415_565322
988 $a20130316
906 $0OCLC