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Description
In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japan's film industry.
Drawing on first-hand interviews with key figures from the jishu eiga (self-made film) tradition, including Ishii Gakuryu, Yamamoto Masashi, Tsukamoto Shin'ya, and Fukui Shozin, Player explores how punk's bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by punk rock, graffiti art, street performance, animation, and evolving music technologies.
By considering the practical, phenomenological, and political ramifications of blending diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinson's Garden (1987), and Tetsuo: The Iron Man (1989). He further traces the changing sociocultural position of Japan's punk movement throughout the 1980s-from its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence.
Table of Contents
1. Apathy and Atrophy: The Emergence of Japan's 'Punk Generation'
2. Japan's 'Self-Made' Film Ecology: Production, Screening and Convergence
3. Punk Film and the Politics of Musicality: Liberation and Capitulation in Ishii Sogo's Burst City (1982)
4. Post-Punk and the Politics of Space: Mediascapes in Yamamoto Masashi's Robinson's Garden (1987)
5.(Cyber)Punk and the Intermedial Body: Modes of (Inter)Mediation in Tsukamoto Shin'ya's Tetsuo: The Iron Man (1989)
6. Punk and Intermedial Spectatorship: The 'LIVE' Feeling of Fukui Shozin's Pinocchio 964 (1991)
Conclusion
Bibliography
Index
Product details
| Published | May 01 2025 |
|---|---|
| Format | Hardback |
| Edition | 1st |
| Extent | 272 |
| ISBN | 9781350378568 |
| Imprint | Bloomsbury Academic |
| Dimensions | 234 x 156 mm |
| Series | World Cinema |
| Publisher | Bloomsbury Publishing |
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