01001nam a2200289 i 450099100098519970753620020507181115.0981201s1966 us ||| | eng b10785012-39ule_instLE01305295ExLDip.to Matematicaeng514.2AMS 55-01Hu, Sze-Tsen102630Homology theory :a first course in algebraic topology /Sze-Tzen HuSan Francisco :Holden-Day,1966247 p. ;24 cm.Holden-Day series in mathematicsBibliography: p.243-244Algebraic topology-textbooksHomology theory.b1078501223-02-1728-06-02991000985199707536LE013 55-XX HUS11 (1966)12013000104911le013-E0.00-l- 00000.i1088510928-06-02Homology theory922143UNISALENTOle01301-01-98ma -engus 0100870nam0 22002531i 450 UON0006157620231205102309.70420020107d1964 |0itac50 baengUS|||| 1||||Emperor and Nation in JapanPolitical thinkers of the Tokugawa periodDavid Magarey EarlSeattle : University of Washington1964X270 p. ; 24 cmDispersoNAZIONALISMOGiapponeUONC006615FIUSSeattleUONL000216GIA VII DGIAPPONE - RELIGIONE E FILOSOFIA - ALTRE CORRENTI DI PENSIEROAEARLDavid MagareyUONV039316826152University of WashingtonUONV246429650ITSOL20240220RICAUON00061576Emperor and Nation in Japan1849303UNIOR03972nam 2200913z- 450 991055733900332120220111(CKB)5400000000042488(oapen)https://directory.doabooks.org/handle/20.500.12854/76410(oapen)doab76410(EXLCZ)99540000000004248820202201d2021 |y 0engurmn|---annantxtrdacontentcrdamediacrrdacarrierDevelopments in the Japanese Documentary ModeBasel, SwitzerlandMDPI - Multidisciplinary Digital Publishing Institute20211 online resource (140 p.)3-03943-913-8 3-03943-914-6 Writing on Japanese cinema has prioritized aesthetic and cultural difference, and obscured Japan's contribution to the representation of real life in cinema and related forms. Donald Richie, who was instrumental in introducing Japanese cinema to the West, even claimed that Japan did not have a true documentary tradition due to the apparent preference of Japanese audiences for stylisation over realism, a preference that originated from its theatrical tradition. However, a closer look at the history of Japanese documentary and feature film production reveals an emphasis on actuality and everyday life as a major part of Japanese film culture. That 'documentary mode' - crossing genre and medium like Peter Brooks' 'melodramatic mode' rather than limited to styles of documentary filmmaking alone - identifies rhetoric of authenticity in cinema and related media, even as that rhetoric was sometimes put in service to political and economic ends. The articles in this Special Issue, 'Developments in the Japanese Documentary Mode', trace important changes in documentary film schools and movements from the 1930s onwards, sometimes in relation to other media, and the efforts of some post-war filmmakers to adapt the styles and ethical commitments that underpin documentary's "impression of authenticity" to their representation of fictional worldsMusicbicsscAdachi Masaoauthorshipavant-garde documentarycinéma veritécinematographydirect cinemadocumentarydocumentary filmdocumentary film theorydocumentary photographydramatizationethics of representationethnofictionexperiencefiction and documentaryfilm theoryfolklore studiesHani SusumuhibakushahistoryHistory of Post-War Japan as Told by a Bar HostessImamura ShōheiIshimure MichikoJapanJapanese cinemalandscapesmagic lanternmemoryMinamata diseaseMinamata: The Victims and Their WorldMizoguchi Kenjin/anew Leftnon-fictionobservational documentarypopular history movementpost-1945 Japanpostwar Japansemi-documentaryShindō KanetosubjectivityTeshigahara HiroshiThe Children of Minamata are Livingthe culture filmTsuchimoto NoriakiW. Eugene SmithMusicCenteno Marcosedt1322507Raine MichaeledtCenteno MarcosothRaine MichaelothBOOK9910557339003321Developments in the Japanese Documentary Mode3035240UNINA