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Journal Article

Imaging Modern Girls in the Japanese Woman's Film

Mitsuyo Wada-Marciano
Camera Obscura (2005) 20 (3 (60)): 15–55.
DOI: https://doi.org/10.1215/02705346-20-3_60-15
Published: 01 December 2005
...Mitsuyo Wada-Marciano Camera Obscura 2005 Mitsuyo Wada-Marciano is an assistant professor of film studies at Carleton University. Her critical writings have appeared in In Praise of Film Studies and the forthcoming Japanese Film: Texts and Contexts , as well as in numerous journals...
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Journal Article

The Wages of Affluence: The High-Rise Housewife in Japanese Sex Films

Anne McKnight
Camera Obscura (2012) 27 (1 (79)): 1–29.
DOI: https://doi.org/10.1215/02705346-1533430
Published: 01 May 2012
...Anne McKnight This essay considers how ideas about liberation flourished in Japanese sex films in the 1970s by exploring the genre of the housewife film as it traverses industrial contexts. Liberation was abandoned by melancholic male intellectuals after the 1970 failure to halt Japan's military...
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Journal Article

“Overcoming Modernity”: Gender and the Pathos of History in Japanese Film Melodrama

Catherine Russell
Camera Obscura (1995) 12 (2 (35)): 129–157.
DOI: https://doi.org/10.1215/02705346-12-2_35-129
Published: 01 May 1995
...Catherine Russell Hara Setsuko in End ofSummer (Ozu Yasujiro, 1961). "Overcoming Modernity": Gender and the Pathos of History in Japanese Film Melodrama Catherine Russell Although this seemed unpalatable to Westerners...
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Journal Article

Symmetry, Violence, and The Handmaiden 's Queer Colonial Intimacies

Jasmine Hu
Camera Obscura (2021) 36 (2 (107)): 33–63.
DOI: https://doi.org/10.1215/02705346-9052788
Published: 01 September 2021
...Jasmine Hu Abstract The Japanese annexation of Korea (1910–45) implicates a crisis of representation in South Korean national history. Both the traumatic wounds and complex intimacies of Japan's rule over its Korean subjects were met with postcolonial suppression, censorship, and disavowal...
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Journal Article

Kyung-Sung: Cinematic Memories of the Colonial Past in Contemporary Korea

Kyoung-Lae Kang
Camera Obscura (2015) 30 (3 (90)): 27–59.
DOI: https://doi.org/10.1215/02705346-3160641
Published: 01 December 2015
..., viewers are awakened to the unfortunate history of Japanese colonialism and thus experience a feeling of regret or melancholy for the past. This cinematic encounter with the past also resonates with cultural imagery of Seoul as a forgotten colonial city that has reemerged across Korean society, especially...
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Journal Article

Learning to Love What Passes: Sensual Perception, Temporal Transformation, and Epistemic Production in Hirokazu Kore-eda's After Life

Kristi McKim
Camera Obscura (2008) 23 (2 (68)): 69–101.
DOI: https://doi.org/10.1215/02705346-2008-003
Published: 01 September 2008
...Kristi McKim Hirokazu Kore-eda's 1998 film After Life stylistically cites canonical Japanese films (especially that of Yasujiro Ozu), while heralding the cinema's role in both photogenically defamiliarizing the familiar and naturalizing the new. Set in a way station between heaven and earth...
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Journal Article

Incestuous Wanderlust: 35 Shots of Rum 's Atmospheres of Circulation

Iggy Cortez
Camera Obscura (2022) 37 (1 (109)): 61–89.
DOI: https://doi.org/10.1215/02705346-9561423
Published: 01 May 2022
... ( Banshun , Japan, 1949), the film's narrative premise traces the strong bond between a widower and his adult daughter. Most critical assessments of the film thus interpret 35 Shots of Rum as an homage to Ozu, seeing the daughter's love for her father as a reflection of Denis's devotion to the Japanese...
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Journal Article

Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)

Xin Peng
Camera Obscura (2022) 37 (2 (110)): 1–29.
DOI: https://doi.org/10.1215/02705346-9786986
Published: 01 September 2022
... and complicates the established configurations of the gendered “Orientals”: the Janus‐faced Japanese man and the ornamentalist yellow woman. The gendering of Asian male characters is a complex historical issue. As Higashi famously argues, the visual pairing of the white female protagonist and Hayakawa's...
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Image
The staging by Kouzuki (Cho Jin-woong) of Hideko's sex act with a wooden ma...

The staging by Kouzuki (Cho Jin-woong) of Hideko's sex act with a wooden ma...

in Symmetry, Violence, and The Handmaiden 's Queer Colonial Intimacies > Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 3. The staging by Kouzuki (Cho Jin-woong) of Hideko's sex act with a wooden mannequin in The Handmaiden ( Ah-ga-ssi , dir. Park Chan-wook, South Korea, 2016) recalls a shot in a controversial Japanese New Wave classic. More
Journal Article

Naruse Mikio's Silent Films: Gender and the Discourse of Everyday Life in Interwar Japan

Catherine Russell
Camera Obscura (2005) 20 (3 (60)): 57–89.
DOI: https://doi.org/10.1215/02705346-20-3_60-57
Published: 01 December 2005
... Ethnography: The Work of Film in the Age of Video (1999). She has also published numerous articles on video art, Canadian film, and Japanese cinema. See www.cinema.concordia.ca/russell/ . Chiba Sachiko in Wife! Be Like a Rose! (Tsuma yo bara no yo ni) (dir. Naruse Mikio, Japan, 1935) Naruse Mikio’s...
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Journal Article

The Americanization of Tsuru Aoki: Orientalism, Melodrama, Star Image, and the New Woman

Sara Ross
Camera Obscura (2005) 20 (3 (60)): 129–157.
DOI: https://doi.org/10.1215/02705346-20-3_60-129
Published: 01 December 2005
... of the Oriental woman while pushing toward rec- ognition of her as a Japanese American. The splicing of her seem- ingly disparate racial and cultural identities was mapped onto other troubling cultural divides of the period, most notably the gap between the traditional and the New Woman and between...
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Journal Article

Gender and the Art of Benshi : In Dialogue with Midori Sawato

Akiko Mizoguchi
Camera Obscura (2011) 26 (3 (78)): 155–165.
DOI: https://doi.org/10.1215/02705346-1415470
Published: 01 December 2011
... (deshi), Shunsui Matsuda was known as the “last benshi,” a title that Sawato belied after her mentor’s death in 1987.4 Sawato has per- formed at numerous venues (including nineteen outside of Japan) for hundreds of silent film titles, both Japanese and international. She has five protégés.5 I...
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Journal Article

The Many Lives of Mr. Yunioshi:: Yellowface and the Queer Buzz of Breakfast at Tiffany’s

Melissa Phruksachart
Camera Obscura (2017) 32 (3 (96)): 93–119.
DOI: https://doi.org/10.1215/02705346-4205088
Published: 01 December 2017
... performance as the obnoxious Japanese neighbor. It was an ugly caricature and jarring to today’s sensibilities.”3 In keeping with the film’s discourse of easy glamour, the attendee’s disavowal of Yunioshi is mediated not in terms of ethics or justice but through the realm of sensibility and aesthetics...
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Journal Article

New Women of the Silent Screen: China, Japan, Hollywood

Catherine Russell
Camera Obscura (2005) 20 (3 (60)): 1–13.
DOI: https://doi.org/10.1215/02705346-20-3_60-1
Published: 01 December 2005
... within the mass media. Harry Harootunian has suggested that “the Japanese experience showed, especially for subsequent examples labeled as ‘alternative modernities,’ that modernity was always a doubling that imprinted the difference between the demands of capitalism...
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Journal Article

In the Twilight of Modernity and the Silent Film: Irie Takako in The Water Magician

Chika Kinoshita
Camera Obscura (2005) 20 (3 (60)): 91–127.
DOI: https://doi.org/10.1215/02705346-20-3_60-91
Published: 01 December 2005
... in The Water Magician Chika Kinoshita In September 1995, the Japanese graphic magazine N¯saidoo (Noside) — geared toward elderly fans and avid cinephiles, two demographic groups that populate Tokyo’s National Film Cen- ter’s auditorium on a daily basis — published a special issue on pre...
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Journal Article

Video Letter by Shuntaro Tanikawa and Shuji Terayama: An Introduction

Barbara London
Camera Obscura (1990) 8 (3 (24)): 195–203.
DOI: https://doi.org/10.1215/02705346-8-3_24-195
Published: 01 September 1990
... means of self- expression. For more than thirty years, they have experimented with the most traditional Japanese literary forms, working on the edges of convention with an active group of interdisciplinary artists in Tokyo. Both men responded to the radical energy and politics of Japan...
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Journal Article

Mothers and Daughters: Abjection and the Monstrous-Feminine in Japan's Dark Water and South Korea's A Tale of Two Sisters

K K Seet
Camera Obscura (2009) 24 (2 (71)): 139–159.
DOI: https://doi.org/10.1215/02705346-2009-005
Published: 01 September 2009
... with their regional audiences but also carved inroads into Hollywood and Western Mothers and Daughters  •  141 film consciousness by way of Hollywood remakes. Since the Naomi Watts version of the Japanese box-office hit The Ring (dir. Hideo Nakata, 1998) and its...
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Journal Article

Contributors

Camera Obscura (1990) 8 (3 (24)): 216–217.
DOI: https://doi.org/10.1215/02705346-8-3_24-216
Published: 01 September 1990
... Pom- pidou (Paris), the Whitney Museum of American Art and the Museum of Modern Art (New York) and the Stedlijk Museum (Amsterdam). Akiko Iimura is editor of OCS News, a Japanese weekly published in New York. Thierry Kuntzel is a video artist living in Paris. His most recent...
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Journal Article

“A More Personal Look at Her Life”: Family Narrative, Gender, and Transnational Memories in The Girl and the Picture

Pingfan Zhang
Camera Obscura (2022) 37 (2 (110)): 91–117.
DOI: https://doi.org/10.1215/02705346-9787028
Published: 01 September 2022
... by John Magee, 1937. Courtesy of Chris Magee Figure 1. The picture of Xia Shuqin taken by John Magee, 1937. Courtesy of Chris Magee The Nanjing Massacre was a brutal episode in modern Chinese history. On 13 December 1937, the invading Japanese imperialist army occupied the Republic of China's...
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Journal Article

Angels Dinosaurs Aliens

Thomas DiPiero, Rajani Sudan
Camera Obscura (1997) 14 (1-2 (40-41)): 4–14.
DOI: https://doi.org/10.1215/02705346-14-1-2_40-41-4
Published: 01 May 1997
... similar, perhaps somewhat less obvious, connections were made. After the initial reports of alien beings crashing to the earth, one of the most common refuta- tions to the stories of little green men argued that what witnesses actually saw were Japanese men. No one seemed to notice that the US...
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