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5. POSTMODERNISM AND MAGIC REALISM IN CONTEMPORARY JAPANESE CINEMA

© 2022, Edinburgh University Press, Edinburgh

© 2022, Edinburgh University Press, Edinburgh

Kapitel in diesem Buch

  1. Frontmatter i
  2. CONTENTS v
  3. ACKNOWLEDGEMENTS vi
  4. ILLUSTRATIONS vii
  5. NOTE AND GLOSSARY ix
  6. TRADITIONS IN WORLD CINEMA xi
  7. INTRODUCTION: WHY 1997 AND HANA-BI? 1
  8. 1. JIDAI-GEKI AND CHAMBARA: THE SAMURAI ONSCREEN 13
  9. 2. YAKUZA CINEMA 39
  10. 3. JAPANESE HORROR CINEMA 63
  11. 4. THE CHANGING JAPANESE FAMILY ON FILM 95
  12. 5. POSTMODERNISM AND MAGIC REALISM IN CONTEMPORARY JAPANESE CINEMA 120
  13. 6. JAPANESE DOCUMENTARY CINEMA: REALITY AND ITS DISCONTENTS 144
  14. 7. MODERN JAPANESE FEMALE DIRECTORS 171
  15. BIBLIOGRAPHY 203
  16. SELECT FILMOGRAPHY 214
  17. INDEX 220
Contemporary Japanese Cinema Since Hana-Bi
Ein Kapitel aus dem Buch Contemporary Japanese Cinema Since Hana-Bi
https://doi.org/10.1515/9780748683741-010

Kapitel in diesem Buch

  1. Frontmatter i
  2. CONTENTS v
  3. ACKNOWLEDGEMENTS vi
  4. ILLUSTRATIONS vii
  5. NOTE AND GLOSSARY ix
  6. TRADITIONS IN WORLD CINEMA xi
  7. INTRODUCTION: WHY 1997 AND HANA-BI? 1
  8. 1. JIDAI-GEKI AND CHAMBARA: THE SAMURAI ONSCREEN 13
  9. 2. YAKUZA CINEMA 39
  10. 3. JAPANESE HORROR CINEMA 63
  11. 4. THE CHANGING JAPANESE FAMILY ON FILM 95
  12. 5. POSTMODERNISM AND MAGIC REALISM IN CONTEMPORARY JAPANESE CINEMA 120
  13. 6. JAPANESE DOCUMENTARY CINEMA: REALITY AND ITS DISCONTENTS 144
  14. 7. MODERN JAPANESE FEMALE DIRECTORS 171
  15. BIBLIOGRAPHY 203
  16. SELECT FILMOGRAPHY 214
  17. INDEX 220
Heruntergeladen am 9.5.2026 von https://www.degruyterbrill.com/document/doi/10.1515/9780748683741-010/html?lang=de
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