LEADER 03943nam 2200889z- 450 001 9910557339003321 005 20231214133159.0 035 $a(CKB)5400000000042488 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/76410 035 $a(EXLCZ)995400000000042488 100 $a20202201d2021 |y 0 101 0 $aeng 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aDevelopments in the Japanese Documentary Mode 210 $aBasel, Switzerland$cMDPI - Multidisciplinary Digital Publishing Institute$d2021 215 $a1 electronic resource (140 p.) 311 $a3-03943-913-8 311 $a3-03943-914-6 330 $aWriting 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 worlds 606 $aMusic$2bicssc 610 $aethnofiction 610 $aJapan 610 $adocumentary 610 $anon-fiction 610 $adramatization 610 $aMinamata disease 610 $aTsuchimoto Noriaki 610 $aW. Eugene Smith 610 $aIshimure Michiko 610 $aethics of representation 610 $aThe Children of Minamata are Living 610 $aMinamata: The Victims and Their World 610 $aauthorship 610 $adocumentary film 610 $ahibakusha 610 $aJapanese cinema 610 $aMizoguchi Kenji 610 $asemi-documentary 610 $aShindo? Kaneto 610 $afilm theory 610 $adocumentary film theory 610 $apostwar Japan 610 $apost-1945 Japan 610 $aHani Susumu 610 $acine?ma verite? 610 $adirect cinema 610 $aobservational documentary 610 $acinematography 610 $athe culture film 610 $aImamura Sho?hei 610 $aHistory of Post-War Japan as Told by a Bar Hostess 610 $afiction and documentary 610 $ahistory 610 $amemory 610 $aexperience 610 $amagic lantern 610 $apopular history movement 610 $aavant-garde documentary 610 $anew Left 610 $aTeshigahara Hiroshi 610 $aAdachi Masao 610 $asubjectivity 610 $alandscapes 610 $afolklore studies 610 $adocumentary photography 615 7$aMusic 700 $aCenteno$b Marcos$4edt$01322507 702 $aRaine$b Michael$4edt 702 $aCenteno$b Marcos$4oth 702 $aRaine$b Michael$4oth 906 $aBOOK 912 $a9910557339003321 996 $aDevelopments in the Japanese Documentary Mode$93035240 997 $aUNINA