For 50 years, samurai movies have wowed the Japanese and the world with gory sword fights and tear-jerking tales of honor and sacrifice. From Kurosawa's Seven Samurai to anime's Samurai X, this first-ever collection of original samurai movie art pays tribute to a cinematic genre that is truly Japanese. Silver Screen Samurai is a must-have for samurai fans, movie-buffs and lovers of poster art!

How do contemporary films depict Buddhists and Buddhism? What aspects of the Buddhist tradition are these films keeping from our view? By repeatedly romanticizing the meditating monk, what kinds of Buddhisms and Buddhists are missing in these films and why? Silver Screen Buddha is the first book to explore the intersecting representations of Buddhism, race, and gender in contemporary films. Sharon A. Suh examines the cinematic encounter with Buddhism that has flourished in Asia and in the West in the past century – from images of Shangri-La in Frank Capra's 1937 Lost Horizon to Kim Ki-Duk's 2003 international box office success Spring, Summer, Fall, Winter...and Spring. The book helps readers see that representations of Buddhism in Asia and in the West are fraught with political, gendered, and racist undertones. Silver Screen Buddha draws significant attention to ordinary lay Buddhism, a form of the tradition given little play in popular film. By uncovering the differences between a fictionalized, commodified, and exoticized Buddhism, Silver Screen Buddha brings to light expressions of the tradition that highlight laity and women, on the one hand, and Asian and Asian Americans, on the other. Suh engages in a re-visioning of Buddhism that expands the popular understanding of the tradition, moving from the dominance of meditating monks to the everyday world of raced, gendered, and embodied lay Buddhists.

The instant New York Times bestseller from author, comedian and actor Patton Oswalt, a “heartfelt and hilarious” (USA TODAY) memoir about coming of age as a performer during the late 1990s while obsessively watching classic films at a legendary theater in Los Angeles. “[Oswalt has] a set of synapses like a pinball machine and a prose style to match” (The New York Times). Between 1995 and 1999, Patton Oswalt lived with an unshakable addiction. It wasn’t drugs, alcohol, or sex: it was film. After moving to Los Angeles, Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the famous New Beverly Cinema. Silver screen celluloid became Patton’s life schoolbook, informing his notion of acting, writing, comedy, and relationships. Set in the nascent days of LA’s alternative comedy scene, Silver Screen Fiend chronicles Oswalt’s journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way. “Clever and readable...Oswalt’s encyclopedic knowledge and frothing enthusiasm for films (from sleek noir classics, to gory B movies, to cliché-riddled independents, to big empty blockbusters) is relentlessly present, whirring in the background like a projector” (The Boston Globe). More than a memoir, this is “a love song to the silver screen” (Paste Magazine).

In early 1936, a German film team arrived in Japan to participate in a film coproduction, intended to show the 'real' Japan to the world and to launch Japanese films into international markets. The two directors, one Japanese and the other German, clashed over the authenticity of the represented Japan and eventually directed two versions, The Samurai's Daughter and New Earth, based on a common script. The resulting films hold a firm place in film history as an exercise in - or reaction against - politically motivated propaganda, respectively. A Foreigner's Cinematic Dream of Japan contests the resulting oversimplification into nationalised and politicised dichotomies. Drawing on a wide range of Japanese and German original sources, as well as a comparative analysis of the 'German-Japanese version' and the elusive 'Japanese-English version', Iris Haukamp reveals the complexities of this international co-production. This exclusive research sheds light not only on the films themselves, but also on the timeframe of its production, with both countries at the brink of war.

This is the first edited volume dedicated to the study of East Asian-German cinema. Its coverage ranges from 1919 to the present, a period which has witnessed an unprecedented degree of global entanglement between Germany and East Asia. In analyzing this hybrid cinema, this volume employs a transnational approach, which highlights the nations’ cinematic encounters and entanglements. It reveals both German perceptions of East Asia and East Asian perceptions of Germany, through analysis of works by both German directors and East Asian/East Asian-German directors. It is hoped that this volume will not only accelerate cross-cultural exchange, but also provide a wider perspective that helps film scholars to see the broader contexts in which these films are produced. It introduces multiple compelling topics, not just immigration, multiculturalism, and exile, but also Japonisme, children’s literature, musical modernity, media hybridity, gender representation, urban space, Cold War divisions, and national identity. It addresses several genres—feature films, essay films, and documentary films. Lastly, by embracing three East Asian cinemas in one volume, this volume serves as an excellent introduction for German cinema students and scholars. It will appeal to international and interdisciplinary audiences, as its contributors represent multiple disciplines and four world regions.

While the actor Sessue Hayakawa (1886–1973) is perhaps best known today for his Oscar-nominated turn as a Japanese military officer in The Bridge on the River Kwai (1957), in the early twentieth century he was an internationally renowned silent film star, as recognizable as Charlie Chaplin or Douglas Fairbanks. In this critical study of Hayakawa’s stardom, Daisuke Miyao reconstructs the Japanese actor’s remarkable career, from the films that preceded his meteoric rise to fame as the star of Cecil B. DeMille’s The Cheat (1915) through his reign as a matinee idol and the subsequent decline and resurrection of his Hollywood fortunes. Drawing on early-twentieth-century sources in both English and Japanese, including Japanese-language newspapers in the United States, Miyao illuminates the construction and reception of Hayakawa’s stardom as an ongoing process of cross-cultural negotiation. Hayakawa’s early work included short films about Japan that were popular with American audiences as well as spy films that played upon anxieties about Japanese nationalism. The Jesse L. Lasky production company sought to shape Hayakawa’s image by emphasizing the actor’s Japanese traits while portraying him as safely assimilated into U.S. culture. Hayakawa himself struggled to maintain his sympathetic persona while creating more complex Japanese characters that would appeal to both American and Japanese audiences. The star’s initial success with U.S. audiences created ambivalence in Japan, where some described him as traitorously Americanized and others as a positive icon of modernized Japan. This unique history of transnational silent-film stardom focuses attention on the ways that race, ethnicity, and nationality influenced the early development of the global film industry.

This major new volume presents innovative recent scholarship on Japan's modern history, including its imperial past and transregional entanglements. An international team of leading scholars offer accessible and thought-provoking essays that present an expansive global vision of the archipelago's history from c. 1868 to the twenty-first century. Japan was the first non-Western society to become a modern nation and empire, to industrialize, and to deliver a high standard of living to virtually all its citizens, capturing international attention ever since. These Japanese efforts to reshape global hierarchies powered a variety of debates and conflicts, both at home and with people and places beyond Japan's shores. Drawing on the latest Japanese and English-language scholarship, this volume highlights Japan's distinctive and fast-changing history.

Thriller.

A cyborg detective hunts for a malfunctioning sex doll that turns itself into a killing machine. A Heian-era Taoist slays evil spirits with magic spells from yin-yang philosophy. A young mortician carefully prepares bodies for their journey to the afterlife. A teenage girl drinks a cup of life-giving sake, not knowing its irreversible transformative power. These are scenes from the visually enticing, spiritually eclectic media of Japanese movies and anime. The narratives of courageous heroes and heroines and the myths and legends of deities and their abodes are not just recurring motifs of the cinematic fantasy world. They are pop culture’s representations of sacred subtexts in Japan. Japanese Mythology in Film takes a semiotic approach to uncovering such religious and folkloric tropes and subtexts embedded in popular Japanese movies and anime. Part I introduces film semiotics with plain definitions of terminology. Through familiar cinematic examples, it emphasizes the myth-making nature of modern-day film and argues that semiotics can be used as a theoretical tool for reading film. Part II presents case studies of eight popular Japanese films as models of semiotic analysis. While discussing each film’s use of common mythological motifs such as death and rebirth, its case study also unveils more covert cultural signifiers and folktale motifs, including jizo (a savior of sentient beings) and kori (bewitching foxes and raccoon dogs), hidden in the Japanese filmic text.

From the late 1920s through World War II, film became a crucial tool in the state of Japan. Detailing the way Japanese directors, scriptwriters, company officials, and bureaucrats colluded to produce films that supported the war effort, Imperial Screen is a highly readable account of the realities of cultural life in wartime Japan. High's treatment of the Japanese film world as a microcosm of the entire sphere of Japanese wartime culture demonstrates what happens when conscientious artists and intellectuals become enmeshed in a totalitarian regime. This English language edition is revised and expanded from the original Japanese edition.