... feature-length narrative films including Bara no soretsu ( Funeral Parade of Roses , 1969), Shura ( Demons , 1971), Juroku-sai no senso ( The War of the Sixteen-Year-Olds , 1973), and Dogura magura ( Dogra Magra , 1988). He has contributed significantly to the critical study of film in Japan as well...

... of the modern girl character. The title Chijin no ai references the Japanese title of the US film A Fool There Was (1915), starring Theda Bara as the prototypical vamp. In a US context, the vamp character embodies not only the threat of the sexual woman but also anxieties surrounding racial mixing. In importing...

... the threat of racial hybridity. Shamoon traces the association of the vam- pire story, eugenic theory, Theda Bara films, and the starlet phenom- enon that Tanizaki’s famous character Naomi represents. To reinforce her point, Shamoon makes clear how...

... that they too will get full marks on their exams if they read through this educational manga ( tsuka 2011). In the opening pages of a different manga version of the Diary, this one commissioned in 2001 by the Sei Iesu Kai Anne no Bara no Ky kai (Holy Jesus Society Anne s Rose Church) of Hy go Prefecture,1...

... as one way to reconsider the democratic premise. “Kikai to bara” (“The Machine and the Rose written in 1951 and later collected in his Avant-­Garde Art, is one such essay that investigated possible implications of the inorganic, which he...

...”) GUN (Group Ultra Niigata) Niigata 1967 – 75 Collective Kumo (Shdan Kumo) Fukuoka 1968 – 70 Rosicrucian Society (Bara Manji Tokyo 1968 – 71?  Kessha) Expo ’70...

...- less (bara iro no gunya gunya shita nyoin teki sekai), lacking a capacity for logos, reasoning, and concrete strategy for the future. Her flabby genitalia cling to his penis. Her body is his “mother country.” His masturbatory desire...

... display of subjectivity in films such as Matsumuto's Bara no sōretsu 薔薇の葬列 ( Funeral Parade of Roses ) (1969), Yoshida's Erosu purasu gyakysatsu エロス+虐殺 ( Eros Plus Massacre ) (1969), and Ōshima's Kōshikei . This sense of subjectivity was displayed through the self-negation of the director, namely...

.... 54. Ibid., 174. 55. Emmanuel Levinas, Entre-nous:­ Thinking-of-­ the-­ Other­ , trans. Michael B. Smith and Bar- bara Harshav (London: Continum, 2006), vii. 56. Levinas, Otherwise than Being, 185. 57...

.... 24. Tadashi Settsu, “ ‘Purekariâto’ ni tsuite” (“On the Precariat Bara, mata wa hidamari no neko (Rose, or the cat in the sun), blog entry, September 11, 2006, www.blog.goo.ne.jp /harumi-­s_2005/e/3a5c227572637222ce248d2849da85b6 (accessed September...

...: Retrospect and Prospects” (1947), in ibid., Thought and Behaviour, and Nan- bara Shigeru, “Shakai Kagaku Kenkyujo no setchi ni tsuite” [On the establishment of the Institute of Social Science], Sha@i &zgaku kenbii I. no. I. (February 1948...

...- bara Shigeru, Maruyama Masao, Takeuchi Yoshimi, Ienaga Sabur, Kuno Osamu, and Karatani Kjin, to name but the most famous. It is thus extremely difficult, if not impossible, to imagine that any intellec- tual historian of European or Japanese...