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Diane Wei Lewis

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Dar Hadith al Hassania

Index

Page numbers for figures are in italics.

Abbas, Ackbar ,

186–87

237n43

academic exhibitions (bussankai) ,

215n16

acting:

female impersonators ,

84–85

104

;

stars and ,

106

113

116

119

206

227n3

;

training schools ,

228n8

actors’ bodies ,

72–73

80–81

actors’ emotions ,

223n38

;

in Nikkatsu gahō ,

68–71

223n42

Actress (joyū) ,

138

160–64

167

;

consumer culture and ,

163–64

;

as experimental theater ,

162–63

actresses ,

69–71

;

new actress (shinjoyū) ,

106–7

127

228n11

;

origins of ,

228n11

aspiring actresses (joyū shigansha)

Actuality of His Highness the Crown Prince on His Trip Abroad (Kōtaishi Denka gogaiyū jikkyō) ,

23–25

216n17

Actuality of the Great Kanto Earthquake (Kanto Daishinsai jikkyō, dir. Kōsaka Toshimitsu and Isayama Saburō, Nikkatsu, 1923):

37 ,

214n7

Actuality of the Great Kanto Earthquake and Conflagration (Kanto Daishin taika jikkyō) (Ministry of Education and Tokyo Shinema Shōkai, 1923) ,

36–37

41–46

214n8

219n74

219n77

;

camera movement in ,

42–44

;

everyday life in ,

44–45

;

framing in ,

42–44

;

haptic textures in ,

49–51

;

Hirohito in ,

45–46

50–52

217n37

;

length of ,

36–37

219n74

;

Ministry of Education and ,

36–37

;

reestablishment of order in ,

44–45

220n87

;

space in ,

43–44

50–51

;

structure of ,

ads:

for actor recruitment ,

107–8

;

for earthquake documentaries ,

38–40

219n64

;

for earthquake melodramas ,

59–60

affect. see emotion and affect

affective mapping ,

55–56

180

;

In the Ruins and ,

66–67

Ahmed, Sara ,

172

202

Ambaras, David ,

120–21

American fan magazines ,

113

116

118

230n43

American film ,

;

consumer culture and ,

82–83

;

modernity and ,

82–83

;

movie-struck girls and ,

116–19

227n5

;

standardization of ,

11–12

82–83

118

classical Hollywood cinema

Angles, Jeffrey ,

136–37

Anselmo, Diana W. ,

113

116–17

118

227n3

228n5

Aono Suekichi ,

170

apostasy (tenko) ,

176

apparatus theory ,

Asakusa:

commerce in ,

127–28

128

;

entertainment district of ,

126–28

128

232n78

Asakusa’s movie district ,

121–23

;

crimes in ,

125–26

232n73

;

space of ,

124–25

Aso, Noriko ,

215n16

aspiring actresses (joyū shigansha) ,

1–3

103–32

137

161

162

164

168–69

171

204

207

movie-struck girls

avant-garde ,

140

154

163–64

179

191–92

197

225n8

238n62

;

constructivism ,

137

139–40

161–62

167

;

dadaism ,

139

;

experimental theater ,

154

164

;

expressionism ,

75–76

133

137

139

220n92

Bahr, Hermann ,

145–49

Bao, Weihong ,

211

Barker, Jennifer ,

192

Bates, Alex ,

217n37

221n14

221n16

Battleship Potemkin ,

192–93

193

Bean, Jennifer ,

73–74

Bergstrom, Brian ,

179

186

Berlant, Lauren ,

bodies:

bodily suffering in representations of the Great Kanto Earthquake ,

62–63

64–65

79–81

;

film realism and ,

68–74

80–81

;

Nikkatsu actors’ jitsuwa and ,

78–81

;

spectatorship and ,

64–65

actors’ bodies

women’s bodies

Bowen-Struyk, Heather ,

179

236n26

237n29

Bruno, Giuliana ,

105

117

214n15

220n90

222n27

bundan (literary establishment) ,

60–61

134–35

160–61

233n3

Bungei sensen (Literary front) ,

174

236n12

Burch, Noël ,

220n84

bussankai (academic exhibitions) ,

215n16

celebrity ,

163–64

161

167

209

;

Hirohito as ,

23–24

;

Murayama as ,

133

135

137

141

149

151

156

160

162

163–64

165

;

performativity and ,

150–51

stars

censorship ,

125

151

187

207

208

237n29

;

of La Ronde ,

142

234n17

;

Nikkatsu gahō and ,

;

of tendency films ,

189

190

chain drama (rensageki) ,

151

153–54

158

Clarté ,

173–74

class:

class conflict ,

171

178

179–80

186

188

189

201

;

class consciousness ,

172–73

180

182–83

184–85

190

202–3

236–37n26

;

middle-class culture ,

105

119

136

161

177

;

middle classes ,

126

230n48

;

representation of ,

143–44

177–78

179–80

187–89

190

201–2

;

working-class culture ,

;

working classes ,

121

126

207

proletarian movement

classical film theory ,

213n12

classical Hollywood cinema ,

6–7

43–44

118–19

comfort films (ian eiga) ,

218n54

Comintern ,

173–74

177

236n18

commercialism:

Actress and ,

163–64

;

American cinema and ,

82–84

;

Asakusa and ,

126–27

;

bundan and ,

134–35

160–61

;

commodification ,

82–84

136

138

156

160

163–64

165

167

168–73

179

184–85

188

;

consumer culture ,

97–98

169

230n48

;

consumerist desire ,

8–9

135–36

204–5

;

critical proximity and ,

237n43

;

ero, guro, nansensu in ,

136

;

feminization and ,

3–5

12–15

98–99

116

168–73

178–79

201–3

204

206–8

211

235n3

236n8

;

Great Kanto Earthquake and ,

208

;

intimacy, or intimacy and alienation and ,

115

135

138

151

156

160

164

167

168

;

KikuchiKan and ,

160–61

;

mass culture and ,

3–5

204–5

;

Murayama Tomoyoshi and ,

134–36

138

151

156

163–64

;

tendency films and ,

187–89

201–2

203

;

women and ,

12–13

127

138

151

156

163–64

168–72

177

201–3

204–5

230n48

commodity form ,

179

184–85

;

affect and ,

160

167

172–73

;

spectatorship and ,

82–83

163

230n48

communism ,

173–74

177

236n18

proletarian movement

constructivism. see avant-garde

consumer culture. see commercialism

Coutts, Angela ,

202

236n12

Crary, Jonathan ,

205–6

crime:

Asakusa and ,

121–27

231n71

232n73

;

aspiring actresses and ,

1–3

103–5

107–15

127

;

juvenile delinquency ,

120–22

123–27

231n71

232n73

232n75

;

media coverage of ,

1–3

106

108–15

119–20

122–23

125–26

127–28

130–32

;

movie theaters and ,

104

;

white slavery ,

117

227n5

critical proximity ,

186–87

237n43

“curiosities” (rydki) ,

137

Cursed Day (Onoware no hi) ,

dadaism. see avant-garde

Daishinsai jissha (Great Earthquake actuality) ,

Day of the Tempest (Arashi no hi) ,

63–64

deaths:

in Actuality of the Great Kanto Earthquake (dir. Kōsaka Toshimitsu and Isayama Saburō, 1923) ,

;

in ads ,

;

in earthquake media ,

37–38

62–63

;

in Great Kanto Earthquake (dir. Ina Seiichi, 1923) ,

37–38

;

Great Kanto Earthquake casualties ,

26–28

;

of massacred Koreans ,

216n31

217n32

;

in Nikkatsu actors’ true stories ,

78–79

Deleuze, Gilles ,

democratization ,

3–4

82–84

87–89

94–97

163

213n7

225n17

227n50

Diamond Cinema company ,

108–10

disidentification ,

172–73

202

236n26

;

in “The Prostitute,” 180–87

identification

divine punishment (tenbatsu or tenken) ,

29–30

62–63

89–91

217n41

221n16

documentary film:

Hirohito and ,

22–25

215n13

215n15

216n17

216n20

217n37

220n88

;

origins of ,

;

Prokino and ,

236n14

238n47

documentary film, earthquake ,

208–9

;

ads for ,

38–40

59–60

;

bans on ,

219n60

;

camera movement in ,

20–21

40–44

;

dead in ,

37–39

220n81

220n90

;

emplacement in ,

20–21

;

exhibition of ,

30–31

;

historicity and ,

;

Japanese government and ,

21–25

31–32

36–37

44–46

50–51

;

montage in ,

10–11

20–21

;

newspapers and ,

23–24

30–31

;

overlapping footage in ,

214n7

215n8

219n80

220n81

;

positioning of the spectator in ,

20–21

47–48

49–52

;

realism and ,

;

sensationalism of ,

21–22

37–40

220n81

;

spaces in ,

20–21

41–44

49–52

;

structure of ,

37–40

;

survival of ,

219n80

;

texture in ,

49–52

220n92

Actuality of the Great Kanto Earthquake

Actuality of the Great Kanto Earthquake and Conflagration

Great Earthquake Actuality

Great Kanto Earthquake

Great Tokyo Earthquake Actuality

earthquake exhibitions ,

218n57

earthquake melodrama films (shinsai eiga), affective mapping and ,

55–56

66–68

;

memory and ,

53–54

59–60

;

paratexts and ,

56–57

68–81

;

prosopopoetic reading and ,

67–68

;

earthquake melodrama films (continued )publicity for ,

59–60

;

realism of ,

53–55

68–74

;

trauma and ,

70–71

72–73

80–81

Earth Shakes, The

In the Face of Death

In the Ruins

Earth Rages, The (Daichi wa okoru) ,

Earth Shakes, The (Daichi wa yuragu) ,

60–62

63–65

70–72

221n16

;

actor’s performances in ,

70–75

;

body in ,

64–65

;

class-consciousness in ,

62–64

221n16

;

divine punishment in ,

62–63

221n16

;

humanity in ,

64–65

educational film ,

;

emergence of ,

93–94

226n38

;

Great Kanto Earthquake and ,

;

white slavery panic and ,

227n5

Ministry of Education

Eiga jidai (Film age) ,

160–61

164

233n2

emotion and affect ,

5–6

7–8

9–10

98–99

151

173

204–5

214n18

234n34

;

affective mapping and ,

55–56

66–67

180

;

alienation and estrangement ,

135–36

138

149

151

156

160

163–64

165

172–73

179–80

202

;

alienation in “The Prostitute,” 180–87 ,

202–3

236n26

;

commodification of ,

136

138

163–64

;

in Der Meister ,

145–49

;

earthquake documentary films and ,

20–22

49–52

;

earthquake melodramas and ,

54–56

66–68

69–74

;

frisson ,

151

171

173

;

intimacy ,

115

135–36

138

143–44

145

147–49

151

156

160

164

167

168–69

209

;

in Life of an Artist ,

153

154

158–60

;

melodrama and ,

129

;

proletarian texts and ,

178–79

201–3

;

realism and ,

5–7

9–10

20–21

53–55

69–74

82–83

98–99

204–5

207

223n38

;

representations of women and ,

14–15

168

172–73

178–80

201–3

204–5

207

;

shame ,

64–65

111

116

141–42

144

148–51

153

156

158–60

165

167

180

;

in What Made Her Do It? 191 ,

192

194

actors’ emotions

identification

ero, guro, nansensu (eroticism, grotesquerie, nonsense) ,

136

179

190–91

experimental theater. see avant-garde

expressionism. see avant-garde

Facing Death (Shi ni menshite) ,

222n18

Farewell Scenes of Kusunoki Masahige and His Son, The (Shigeki Nankō ketsub-etsu) ,

24–25

216n17–19

female delinquency ,

123–24

126

231n69

231n71

232n73

female film fans ,

105

230n43

;

aspiring actresses and ,

113–19

130–31

227n3

aspiring actresses

female impersonator (onnagata) ,

84–85

104

106

225n11

female suffering ,

169

171–73

202–3

206–7

235n2

239n10

“Prostitute, The”

What Made Her Do It?

feminism:

feminist film history ,

105

222n27

;

feminist film theory ,

6–7

;

in prewar Japan ,

177

;

proletarian movement and ,

169–173

176–179

207

;

in “The Prostitute,” 185–86;

representations of women and ,

169–171

207–8

feminization and racialization ,

138

147–48

feminization of culture. see commercialism:

feminization and

film exhibition ,

;

bans on ,

21–22

31–32

122

219n60

;

delinquency and ,

120

121–23

;

of films of Hirohito ,

22–25

;

industrialization of cinema and ,

82–83

104

120

131

206

230n58

;

permanent film theaters ,

104

111

122

131

201

230n58

232n78

;

postearthquake theater construction ,

91–92

film theaters

space

film magazines ,

222n31

;

Actress in ,

160–61

163

164

;

aspiring actress panic in ,

1–2

103–5

110–13

114

115–17

118–19

130–31

;

context for earthquake melodrama films and ,

53–55

56–57

68–79

80–81

;

discussion of modernity and mass culture in ,

84–91

;

star discourse and ,

56–57

118–19

230n43

Eiga jidai

Kamata

Katsudō sekai

Kinema junpō

Kinema rekodo

Nikkatsu gahō

Shōchiku gahō

film studios:

aspiring actresses and ,

103–5

107–13

115

120–21

128

130–32

168

;

competition with US film companies ,

;

earthquake documentaries and ,

37–40

;

impact of Great Kanto Earthquake on ,

35–36

57–59

92–93

;

professionalization of ,

104–5

130–31

;

publicity for ,

53–55

104–5

118–19

130–31

222n31

;

reform and ,

84–85

;

tendency films and ,

176

187

189

Nikkatsu Mukōjima studio

Shōchiku Kamata film studio

Tokyo Shinema Shōkai

film techniques:

camera angles ,

40–44

191

194

196

196

197

200

215n15

;

camera movement ,

40–44

197

200

;

camera position or framing ,

40–44

50–52

194

197

200

;

film editing ,

42–45

;

montage ,

10–11

154

187

191–93

193

194

197

200–204

209

;

point-of-view ,

192

194

;

superimposition ,

156

;

trick film ,

227n40

film theaters:

construction of ,

91–92

122

131

232n78

;

crimes and ,

123

125–26

;

crowds and ,

117

122–23

;

juvenile delinquency and ,

123–24

127

231n71

;

permanent ,

104

111

122

131

201

230n58

232n78

;

storefront theaters ,

230n58

film exhibition

permanent film theaters

film theory ,

6–7

187

205

207

213n12

Flatley, Jonathan ,

55–56

66–68

180

222n27

foreign films ,

226n35

American film

classical Hollywood cinema

Soviet film

Fujiki, Hideaki ,

113

223n38

225n11

Fujimori Seikichi ,

171

190

191

194

196

Fujita Motohiko ,

187

201

238n47–48

Gardner, William O. ,

225n8

gender:

ero guro nansensu and ,

136

;

media and ,

131–32

168–73

;

modernity and ,

113

163

169–71

;

Murayama Tomoyoshi and ,

135

142

144

148–49

157

158

165

166

;

power and ,

143

147–49

;

readership and ,

116

;

realism and ,

98–99

119

204–5

;

sexuality and race and ,

142

144

147–49

165

;

as signifier ,

119

168–73

183

185

191

201–3

204–5

206–8

;

spectatorship and ,

6–7

98–99

113

119

;

as a topic in proletarian literature ,

176–78

genre ,

200

;

comedy ,

34–35

190–91

;

critical proximity and ,

237n43

;

horror ,

179–80

186

;

melodrama ,

59–60

128–30

132

191

222n22

233n87

;

representations of women and ,

171–72

190–91

203

;

stickiness of ,

172

202

ero, guro, nansensu

jitsuwa

melodrama

shinpa melodrama

Gerow, Aaron ,

122

197

205–7

224n3

233n2

238n62

239n3

Gordon, Andrew ,

227n50

Great Earthquake Actuality (Daishinsai jissha, Nikkatsu, 1923) ,

Great Earthquake in the Imperial Capital (Teito Daishinsai) (Masa Shōkai, 1923) ,

218n50

Great Kanto Earthquake (Kanto Daishin-sai, dir. Ina Seiichi, 1923) ,

37–38

Great Kanto Earthquake:

deaths from ,

26–28

37–39

78–79

90–91

216n31

;

as divine punishment ,

29–30

89–91

217n41

221n16

;

entertainment after ,

34–35

;

entertainment districts in ,

29–30

;

film industry conditions after ,

57–59

91–95

;

financial cost of ,

;

fires of ,

35–36

76–80

216n23

;

foreign films after ,

34–35

;

infrastructural

Great Kanto Earthquake (continued)damage in ,

26–27

;

Korean massacres after ,

216n31

217n32

;

martial law after ,

216n31

219n60

;

mass audience after ,

91–93

225n8

;

mass media and ,

4–5

10–12

;

modernity and ,

4–5

9–10

27–28

83–84

90–91

92–93

209

;

Nikkatsu film company in ,

35–36

57–58

;

public sentiment and ,

4–5

;

Shitamachi neighborhoods in ,

28–29

35–36

;

Shōchiku film company in ,

;

socioeconomic inequality and ,

28–29

217n37

;

Tokyo-based film companies after ,

35–36

57–59

Great Tokyo Earthquake Actuality (Tokyo Daishinsai jissha, Shōchiku, 1923) ,

Guattari, Felix ,

Gunning, Tom ,

gunshū (crowds) ,

225n8

Hagiwara Ken ,

137

140–41

142

144

145

Hagiwara Kyōjirō ,

133

225n8

Hansen, Miriam ,

19–20

105

163

230n48

235n2

haptic textures ,

49–52

Hayakawa Art Film Production ,

218n50

Hayama Yoshiki ,

13–14

“Prostitute, The”

heterotopia ,

121

127

High, Peter ,

226n38

227n46

232n78

Hirabayashi Hatsunosuke ,

169

213n9

235n3

236n8

Hirohito (crown prince, Shōwa emperor) ,

45–46

217n37

220n88

;

European travels of ,

23–24

215n13

;

identification with ,

45–46

50–51

217n37

220n88

;

media policy and ,

22–26

Hollywood ,

118–19

127

American film

classical Hollywood cinema

“Hollywood of Japan,” 4 ,

105

112

118

221n10

Hori, Hikari 46

Horie Kiichi ,

29–30

humor:

Great Kanto Earthquake and ,

75–76

223n42

ian eiga (comfort films) ,

218n54

identification ,

8–9

98–99

;

disidentification ,

172–73

180–87

202

236n26

;

fantasy and ,

6–7

129–30

135–36

138

239n3

;

female spectators and ,

8–9

98–99

104

106

113–15

116

118

168–69

204–5

208

227n3

;

film techniques and ,

191–92

194

202–3

204–5

;

film theory and ,

6–7

208

239n3

;

gender and ,

6–7

116

208

;

with Hirohito ,

45–46

50–51

217n37

230n88

;

with historical spectators ,

;

melodrama and ,

129–30

221n16

;

prosopopoeic reading and ,

67–68

;

in “The Prostitute,” 180–87;

realism and ,

6–7

69–74

98–99

204–5

207

239n3

;

revolutionary consciousness and ,

171–73

175

184–86

192

194

202–3

;

shame and ,

149–51

158–60

;

space and ,

105

;

stars and ,

113

116

227n3

;

with women, Murayama Tomoyoshi and ,

138

141

156

157

160

163–64

166

;

with women, proletarian texts and ,

180

183–85

202–3

236n26

affective mapping

split subjectivity

identity:

aspiring actresses and ,

105

113

118

168–71

;

ero, guro, nansensu and ,

136

;

in La Ronde ,

143–44

;

of Murayama Tomoyoshi ,

140–41

148–49

156

157

158

;

shame and ,

149–50

;

social media and ,

209

211

;

social transformation and ,

7–10

105

124

135–36

Imperial Household Ministry ,

22–23

25–26

215n16

imperial rescripts ,

217n37

Ina Seiichi ,

37–38

220n81

In the Face of Death (Shi ni menshite) ,

222n18

In the Ruins (Haikyo no naka) ,

53–54

;

actors’ emotions in ,

71–72

;

ad for ,

;

affective mapping and ,

66–68

;

plot of ,

65–66

“Inbaifu.” see “Prostitute, The”

interiorized subject (Gerow) ,

206

224n3

239n3

intermediality:

Murayama Tomoyoshi and ,

134

137

152–56

158

164

165

167

204

;

rensageki and ,

151

154

;

shinkō geijutsu and ,

137

intimacy;

celebrity and ,

158

163–64

167

;

commercial culture and ,

135–36

138

156

158

160

163–64

167

168

;

in Der Meister ,

146–49

;

media and ,

135–36

138

163–64

167

209–11

;

Murayama Tomoyoshi and ,

135–36

138

140

141–44

148–49

150–51

156

158

160

163–64

167

168

;

shame and ,

138

141–42

144

149–51

156

158–60

167

intimate alienation ,

244n20

Iwamoto Kenji ,

235n41

Iwasaki Akira ,

176

188–89

190

201

238n49

James, Henry ,

67–68

224n24

Japanese Communist Party (JCP) ,

173

174–77

Japan Proletarian Arts League (Nippona Artista Proleta Federacio, NAPF) ,

174–77

Japan Proletarian Arts League (Progei, JPAL) ,

174–75

Japan Proletarian Culture Federation (Federacio de Proletaj Kultur-organizoj Japanaj, KOPF) ,

175–76

Japan Proletarian Literary Arts League (Nihon Puroretaria Bungei Renmei, Puroren, JPLAL) ,

174

Japan Studio Film Directors Association ,

58–59

JCP. see Japanese Communist Party jitsuwa (personal testimony). see Nikkatsu actors’ true stories (jitsuwa)

joyū. see Actress

joyū shigansha. see aspiring actresses JPAL. see Japan Proletarian Arts League JPLAL. see Japan Proletarian Literary Arts League

juvenile delinquency ,

120–22

123–27

231n71

232n73

232n75

;

aspiring actresses related to ,

119–20

123–24

;

film theaters and ,

123–24

127

231n71

;

mass audience and ,

119–20

131–32

;

Meiji Restoration and ,

120–21

Kamata ,

90–91

Kamiya Makiko ,

215n15

216n18–19

220n88

Kanda Hidero ,

108–10

Kandinsky, Wassily ,

142

152

153

kankoba (modern bazaar) ,

232n78

Kasza, Gregory ,

189

Kataoka Teppei ,

176

179–80

188

Kato Shuichi ,

Katsudō sekai (Movie world) ,

115–16

katsudōshi (“moving history”) ,

53–54

Kikuchi Kan ,

134

160–61

164

233n2

Kimura Kazuma ,

189

Kimura Sotoji ,

192

200

Kinema junpō (Movie times) ,

58–59

189–90

Kinema rekodo (Kinema record) ,

222n31

Kinoshita, Chika ,

200–201

Kito Shigeru ,

75–76

kokumin (the national people) ,

217n37

Komaki Omi ,

173–74

KOPF. see Japan Proletarian Culture Federation

Korea ,

121

Korean massacres ,

216–17n31

217n32

Kōsaka Toshimitsu ,

Actuality of the Great Kanto Earthquake; Great Earthquake Actuality

Kōseiha kenkyū (Constructivist research)(Murayama) ,

163

Kozono Suenori ,

35–36

53–55

Kurahara Korehito ,

174–75

177–78

190

236n13

Kyōchō Kai ,

218n54

Kyoto ,

221n10

;

as former imperial capital ,

;

as “Hollywood of Japan,”4 ,

105

112

118

;

relocations to ,

57–59

“Hollywood of Japan”

LaCapra, Dominick ,

224n51

Lee, Laura ,

227n40

Life of an Artist. see Linked Heart Comedy

“Linesmen, The” (“Tsüshin kōshu”) (Kataoka) ,

179–80

Linked Heart Comedy, Life of an Artist, A (Or, An Operetta, Life and Heart of an Artist) (Life of an Artist) (Murayama) ,

151–53

163

167

;

film in ,

154–56

;

libretto of ,

151

154–56

158

;

linkage in ,

158

160

165

167

;

plot of ,

152

;

rensageki and ,

151

155–56

158

;

sexuality in ,

138

156

160

163

164–65

;

shame in ,

158–59

160

;

stage directions in ,

155–56

Lippit, Seiji M. ,

127

Literary front (Bungei sensen) ,

174

236n12

Lukács, Georg ,

172–73

184–86

202

Mack, Edward ,

92–93

226n33

Mackie, Vera ,

213n7

236n18

Makino film studio ,

112

Makino Masahirō ,

Makino Shōzō ,

227n40

Makino film studio

Marx, Karl ,

184

Marxism ,

113

172

176–77

Masaki Yoshikatsu ,

158

mass audience ,

3–5

9–10

12–13

19–20

201

204–5

207–8

;

democratization and ,

87–88

94–99

;

earthquake documentary films and ,

19–21

;

following Great Kanto Earthquake ,

91–92

;

for leftist films ,

189

;

juvenile delinquency and ,

119–20

131–32

;

Mikoshiba Morio on ,

87–88

;

realism and ,

54–55

204–5

207–8

mass culture:

consumerism in ,

3–4

29–30

87–88

98–99

168–71

230n48

;

divine punishment and ,

29–30

91–92

;

emotion and ,

4–5

225n8

;

feminization and ,

98–99

168–71

201–2

213n9

;

following Great Kanto Earthquake ,

91–93

225n8

;

montage in ,

200–201

;

Murayama Tomoyoshi and ,

133–38

168

;

realism and ,

98–99

;

women and ,

113

119

132

168–71

213n9

230n48

masses (taishu) ,

225n8

massification (popularization) (taishuka) ,

174–75

188

236n13

mass media:

affect and ,

;

democratization related to ,

3–4

87–88

94–95

163

;

following Great Kanto Earthquake ,

4–5

10–12

;

mobilization and ,

3–4

20–22

94–95

161

;

reach of ,

119

131–32

217n37

Massumi, Brian ,

214n18

234n34

Matsumoto Yoshirō ,

110–13

111

115

116

Matsuo Kishi ,

190

Matsuo Shoichi ,

216n31

Mavo ,

133

135

233n1

media archaeology ,

205

Meiji city planning projects ,

127

Meiji Restoration ,

120–21

Meister, Der:

A Comedy in Three Acts (Der Meister) (Bahr) ,

145–49

melodrama ,

63–66

221n16

222n22

233n87

235n2

238n62

;

aspiring actresses and ,

128–30

132

;

rensageki and ,

153

;

What Made Her Do It? and ,

171

190

194

earthquake melodrama films

shinpa melodrama

memory:

cultural memory ,

127

;

film structure and ,

65–66

191

194

;

media and ,

210

;

realism and ,

70–74

;

traumatic ,

69–74

80–81

224n51

trauma

Metz, Christian ,

239n3

Mikoshiba Morio ,

87–89

Ministry of Education ,

24–26

215n16

216n21

Actuality of the Great Kanto Earthquake and Conflagration

minshū (people) ,

87–88

225n8

misemono (attractions) ,

126

Mizuki Kyoko ,

modern girl (moga) ,

170

montage ,

10–11

209

;

culture of ,

200–201

;

in Life of an Artist ,

154

;

in What Made Her Do It? ,

187

191–93

193

197

Motion Picture Exhibit ,

24–25

movie-struck girls ,

116–19

227n5

aspiring actresses (joyū shigansha)

moving history (katsudōshi) ,

53–54

Mukōjima ,

85–86

Mulvey, Laura ,

128

239n11

Murata Minoru ,

225n17

Murayama Tomoyoshi:

Actress by ,

138

160–64

167

;

autobiography of ,

133

138

140

141–42

143

148–49

150–51

153

156

160

161

163

165

167

;

celebrity and ,

133

135

137

141

151

156

163–64

167

;

commercial culture and ,

133

135

137

138

151

156

163

168

;

“conscious constructivism” of ,

133

;

constructivism and ,

139–40

;

dance and ,

156–57

157

164–66

166

;

education of ,

139

;

identity of ,

141–42

144

148

149

156

158

;

intermediality and ,

134

137

152–56

158

164

165

167

204

;

Kandinsky and ,

153

Life of an Artist by ,

151–56

158–60

;

proletarian arts movement and ,

134–35

138

141

190

;

prostitution and ,

141

143

148

153

156

158–59

;

rensageki and ,

151

153–54

158

;

theater and ,

140–49

161

162–63

164–65

;

work of ,

133–34

135

137–38

Nakano Shigeharu ,

174–75

Nani ga kanojo o so saseta ka. see What Made Her Do It?

NAPF. see Japan Proletarian Arts League

narrative integration (Gunning) ,

National Film Archive of Japan ,

219n80

national people, the (kokumin) ,

217n37

Neale, Steve ,

128–30

Negishi Kōichi ,

225n17

neoperceptionist school (shinkankakuha) ,

134

176

179

new actress (shinjoyū) ,

106–7

Nihon Puroretaria Bungei. see Japan Proletarian Literary Arts League

Nikkatsu actors’ true stories (jitsuwa) ,

68–79

209

;

humor in ,

75–76

223n42

;

“reading in” and ,

11–12

55–57

69–70

72–74

80–81

;

trauma and ,

80–81

224n51

Nikkatsu gahō (Nikkatsu illustrated):

aspiring actresses in ,

1–3

110–13

111

114

115

116

;

behind-the-scenes articles in ,

56–57

69–74

;

censorship and ,

;

earthquake issue of ,

69–74

220n92

222n31

225n17

;

film policy in ,

53–55

;

“moving history” in ,

53–54

;

plot summaries in ,

62–66

68–69

;

publicity in ,

56–57

;

realism in ,

53–57

69–74

80–81

85–87

;

star discourse and ,

73–74

;

traumatic memory and ,

69–74

80–81

224n51

Nikkatsu actors’ true stories (jitsuwa)

Nikkatsu Mukōjima studio ,

130

220n92

;

earthquake damage to ,

35–36

57–58

219n68

;

earthquake melodramas of ,

59–60

62–74

;

layoffs at ,

57–58

;

realism and ,

53–57

69–74

80–81

84–85

;

reform and ,

84–87

;

relocation of ,

35–36

;

Westernization and ,

Actuality of the Great Kanto Earthquake

Nippona Artista Proleta Federacio. see Japan Proletarian Arts League

Oi Tadasu ,

85–86

Okutani Fumitomo ,

onnagata (female impersonator) ,

84–85

104

106

225n11

Onoe Matsunosuke ,

2l6n18–19

220n88

227n40

Onoware no hi (Cursed Day) ,

Osaka asahi shinbun ,

79–80

222n31

film production and ,

23–24

Osaka mainichi shinbun:

film production and ,

23–24

Ōsawa Jo ,

214n7

219n80

220n81

people (minshū) ,

87–88

225n8

permanent film theaters ,

104

111

122

131

201

230n58

232n78

popularization (massification) (taishuka) ,

174–75

188

236n13

problem-of-love stories ,

177–78

Progei. see Japan Proletarian Arts League

Proletarian Film League of Japan (Prokino) ,

176

187

188–90

200–201

203

236n14

238n47

proletarian movement ,

138

171

173–76

202–3

225n8

236n18

;

apostasy and ,

176

;

Clarté and ,

173–74

;

Japanese Communist Party ,

173

175–77

;

Japan Proletarian Arts League (NAPF) ,

174–75

176

;

Japan Proletarian Culture Federation (KOPF) ,

175–76

;

massification (taishuka) and ,

174–75

188

236n13

;

Prokino ,

176

188

190

200–201

238n47

proletarian writing ,

134–35

225n8

;

of Hayama ,

180–85

236n26

237n43

;

of Kataoka ,

179–80

;

neoperceptionist writers and ,

179

;

representations of women in ,

171–73

178–79

206–7

236n12

problem-of-love stories

“Prostitute, The” (“Inbaifu”) (Hayama) ,

13–14

171

;

censorship and ,

237n29

;

critical proximity of ,

186–87

;

exploitation in ,

182–83

185–87

;

genre and ,

180

186

;

identification in ,

180

183–85

186

202–3

236n26

;

revolutionary consciousness and ,

171–73

184–86

202–3

;

split subjectivity in ,

180

182–83

185

236n26

;

story of ,

180–82

prostitution ,

104

106

124

126

227n2

235n2

;

aspiring actresses and ,

103

106

112

;

Murayama Tomoyoshi and ,

137

138

141

148

153

156

158–59

163–65

“Prostitute, The”

white slavery

prosopopoetic reading (Flatley) ,

67–68

publishing industry ,

137

160–61

222n31

pure film movement ,

84–86

153–54

Puroren. see Japan Proletarian Literary Arts League

race:

sexuality and gender and ,

144–49

165

radio ,

230n51

realism ,

6–7

9–10

11–12

;

the body and ,

68–74

80–81

;

cultural authenticity and ,

84–86

;

digital cinema and ,

213n12

;

earthquake films and ,

19–20

53–55

56–57

68–74

;

emotion and ,

5–7

9–10

20–21

53–55

69–74

82–83

98–99

204–5

207

223n38

;

gender and ,

98–99

204–5

;

geopolitics of ,

;

identification and ,

6–10

69–74

98–99

204–5

207

239n3

;

mass audience and ,

54–55

204–5

207–8

;

mass culture and 5 ,

98–99

;

Nikkatsu gahō and ,

53–57

69–74

80–81

85–87

;

Nikkatsu Mukōjima studio and ,

53–57

69–74

80–81

84–85

;

onnagata and ,

84–85

;

proletarian literature and ,

175

177–78

179

;

star-centered film journalism and ,

56–57

71–73

Reformatory Law ,

120–21

124

rensageki (chain drama) ,

151

153–54

158

“Rensageki” (Murayama) ,

154

revolutionary consciousness ,

171–73

175

184–86

192

194

202–3

riots in Tokyo ,

96–97

Ronde, La (Schnitzler) ,

142–44

;

Der Meister and ,

145

146

148–49

Russo-Japanese War ,

95–96

121

208

225n8

ryōki (curiosities) ,

137

Sasa Genjū ,

190

238n47

Sato, Barbara ,

170

177

Sawamura Haruko ,

Schencking, J. Charles ,

on divine punishment ,

29–30

217n41

;

on Great Kanto Earthquake ,

29–30

216n22

227n53

;

on newspapers ,

Schnitzler, Arthur ,

142–44

La Ronde

Sedgwick, Eve Kosofsky ,

49–50

149–51

158

214n18

Senō Matsuko ,

76–77

sensationalism:

criticism of ,

53–54

;

earthquake media and ,

21–22

37–39

53–55

73–74

220n81

;

Murayama Tomoyoshi and ,

156

;

proletarian texts and ,

171–73

176

178–79

187

;

representations of women and ,

13–14

115

130–32

171–73

178–79

227n5

239n9

;

What Made Her Do It? and ,

190–91

194

195

196

196–97

198

200–201

;

Zigomar craze ,

122

sexuality:

commercialization of ,

135–36

138

151

156

158

160

163–64

165

168–73

;

in Der Meister ,

145–49

;

embarrassment of ,

144

;

gender and race and ,

147–49

165

;

in La Ronde ,

142–144

148–49

;

in Life of an Artist ,

151–53

156

158–60

;

modernity and ,

105

118

163–64

168

169

170

;

performance of ,

141–42

;

in “The Prostitute,” 180–83 ,

185–87

;

prostitution ,

103

104

106

112

124

126

132

137

138

141–42

148–49

151

153

156

158–59

160

163–64

165

176

218n42

227n2

227n5

235n2

;

shame and ,

158–60

;

social class and ,

143–44

;

virginity and ,

148

152

156

;

in What Made Her Do It? 194

white slavery

shame ,

64–65

111

138

141–42

144

148–51

153

156

158–60

165

167

180

Shanghai (Yokomitsu) ,

179

Shigeki Nankō ichidaiki ,

216n18

Shinema Shōkai ,

Actuality of the Great Kanto Earthquake and Conflagration

Shi ni menshite (Facing Death) ,

shinjoyū (new actress) ,

106–7

127

228n11

shinkankakuha (neoperceptionist school) ,

134

176

179

shinpa melodrama ,

63–64

65–66

melodrama

shinsai eiga. see earthquake melodrama films

Shirai Shigeru ,

219n79

Shitamachi neighborhoods ,

28–29

35–36

Shōchiku gahō (Shōchiku illustrated) ,

69–70

Shōchiku Kamata film studio ,

115–16

;

aspiring actresses and ,

107

;

Great Kanto Earthquake and ,

57–59

;

jitsuwa and ,

90–91

;

Kamata magazine ,

90–91

;

reform and ,

104

;

relocation of ,

Shōchiku Shimogamo film studio ,

108

189

Silverberg, Miriam ,

3–4

170

200–201

230n51

236n13

sogo geijutsu (synthetic art) ,

137

Soviet film ,

192

197

;

Battleship Potemkin ,

192–93

193

Sower, The (Tanemakuhito) ,

173–74

space:

Asakusa as ,

124–27

;

aspiring actresses panic and ,

104–5

119–20

131–32

;

cinema and ,

104–5

117

119–20

131–32

;

in earthquake documentary films ,

20–21

41–44

49–52

;

juvenile delinquency and ,

119–27

spectatorship ,

8–10

131–32

205–8

209

227n5

230n48

;

in earthquake documentary films ,

49–52

;

gender and ,

6–7

98–99

113

117

119

;

spectatorship, (continued)Gerow on ,

122

205–7

;

identification and ,

20–21

45–46

50–51

;

Metz on ,

239n3

;

prosopopoetic reading and ,

67–68

split subjectivity ,

180

182–87

236n26

Stamp, Shelley ,

105

117

227n5

stars ,

56–57

71–74

82–83

104

113

116

158

163–64

204

206

209

227n3

aspiring actresses

Onoe Matsunosuke

stickiness (Ahmed) ,

172–73

202

Studlar, Gaylyn ,

71–72

118

230n43

Suzuki Jūzaburō ,

190

Suzuki Kensaku ,

The Earth Shakes

Suzuki Shigeyoshi ,

189

190

What Made Her Do It?

synthetic art (sōgō geijutsu) ,

137

Taikatsu film studio ,

104

216n18

Taishō era ,

94–95

124

126–27

136

216n20

taishuka (massification, popularization) ,

174–75

188

236n13

Takao Mitsuko ,

Takemura Tamio ,

Takizawa Kyōji ,

135

156

165

167

Tanemakuhito (The sower) ,

173–74

tenbatsu. see divine punishment

tendency films (keikō eiga) ,

187–89

238n49

What Made Her Do It?

tenkō (apostasy) ,

176

theater, actresses and ,

106–7

;

in Germany ,

140–49

164–65

;

following Great Kanto Earthquake ,

;

kabuki ,

;

Murayama Tomoyoshi and ,

135

137–38

139–49

151

153–54

161

162–63

164–65

;

Tsukiji ShōGekijō ,

161

235n50

avant-garde

rensageki

Tokyo:

film theaters in ,

122

226n31

;

geography of ,

28–29

;

modernity of ,

29–30

97–98

;

riots in ,

96–97

Asakusa

Shitamachi neighborhoods

Tokyo asahi shinbun ,

106–7

;

aspiring actresses in ,

1–2

107

108–10

113–15

131

;

delinquency in ,

121–26

231n71

232n73

;

“new actress” in ,

106–7

228n11

;

Zigomar in ,

122–23

Tokyo Imperial Household Museum ,

215n16

Tokyo nichi nichi shinbun ,

23–24

Tokyo Shinema Shōkai ,

Actuality of the Great Kanto Earthquake and Conflagration

trauma ,

69–74

80–81

224n51

Treaty of Portsmouth ,

trick films ,

227n40

Tsukiji Little Theater (Tsukiji shōgekijō) ,

161

235n50

Tsuneishi Fumiko ,

219n80

Uesugi Rokuro ,

77–79

Umeya Shokichi ,

226n38

Wakayama Osamu ,

Weisenfeld, Gennifer ,

214n2

220n90

223n1

240n12

Westernization:

cinema and ,

113

;

following World War I ,

97–98

;

mass culture and ,

4–5

;

realism and ,

;

theater and ,

106

What Made Her Do It? (Nani ga kanojoo so saseta ka):

Battleship Potemkin and ,

192

193

;

as commercial hit ,

189–90

;

criticism of ,

190–91

;

female suffering in ,

190–92

194

202–3

;

film style and ,

187

190

191–92

193

194

195

196

196

197

200–201

;

food in ,

192

195

196–197

197

198

199

200

;

the grotesque in ,

191

194

195

;

identification and ,

202–3

;

melodrama in ,

190–91

194

;

montage and ,

192

193

;

plot of ,

191

;

“The Prostitute” compared to ,

13–14

171–72

202–3

;

revolutionary consciousness and ,

192

194

;

stage play of ,

171

190

191

194

196–97

white slavery ,

117

227n5

women:

film industrialization and ,

104–5

118

119–20

131

163

230n48

;

mass culture and ,

113

119–20

138

163

168–71

230n48

;

modern girl ,

170

;

New Woman ,

106

213n9

;

social transformation and ,

4–5

8–10

105

113

118

119–20

124

128

131–32

205

230n48

235n2

;

space and ,

105

119–20

124–26

127

131–32

women’s bodies ,

13–14

191–92

194

195

;

alienation and ,

156

172–73

202–3

;

commodification of ,

137–38

156

163–64

;

identification with, Murayama Tomoyoshi and ,

138

141

156

157

163–64

;

meaningfulness of ,

168–69

172

202

239n10–11

;

proletarian works and ,

172–73

178–79

202–3

;

transvaluation of ,

127

women’s magazines ,

169–70

176–77

World War I ,

141

173

Yamada Shoji ,

2l6n31

217n32

Yamamura Fuyuo ,

Yokomitsu Ryūichi ,

179

Yokota Tatsuyuki ,

70–71

Yomiuri shinbun ,

Yoshimoto Mitsuhiro ,

233n87

Yoshino Sakuzo ,

216n31

Yushima ,

215n16

;

Motion Picture

Exhibit in ,

24–25

Zigomar craze ,

122–23

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Powers of the Real

Cinema, Gender, and Emotion in Interwar Japan

ISBN:: 9781684176045

Verleger:: Harvard University Asia Center

Print-Publikationsdatum:: 22 Jan 2019

Fachgebiete
- Asien-Studien
  - China

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Cinema, Gender, and Emotion in Interwar Japan

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