In this study, Aaron Gerow focuses on the early period in which the institutional and narrational structure of Japanese cinema was in flux, arguing that the transnational intertext is less important than the power-laden operations by which the meaning of cinema itself was discursively defined. Both progressive critics of the 'pure film' movement and the more conservative Japanese cultural bureaucrats demanded a unitary text that suppressed the hybrid and unpredictable meanings attendant on early Japanese cinema's informal exhibition contexts. Gerow points out the irony that the progressive and individualist pure film movement critics worked in concert with the Japanese state to undo the 'theft' of Japanese cinema, proposing to replace representations of Japan in Western films by exporting a Japanese cinema 'reformed' to emulate the international norm.

Magisterial in vision, sweeping in scope, this monumental work presents a seamless account of Japanese society during the modern era, from 1600 to the present. A distillation of more than fifty years’ engagement with Japan and its history, it is the crowning work of our leading interpreter of the modern Japanese experience. Since 1600 Japan has undergone three periods of wrenching social and institutional change, following the imposition of hegemonic order on feudal society by the Tokugawa shogun; the opening of Japan’s ports by Commodore Perry; and defeat in World War II. The Making of Modern Japan charts these changes: the social engineering begun with the founding of the shogunate in 1600, the emergence of village and castle towns with consumer populations, and the diffusion of samurai values in the culture. Marius Jansen covers the making of the modern state, the adaptation of Western models, growing international trade, the broadening opportunity in Japanese society with industrialization, and the postwar occupation reforms imposed by General MacArthur. Throughout, the book gives voice to the individuals and views that have shaped the actions and beliefs of the Japanese, with writers, artists, and thinkers, as well as political leaders given their due. The story this book tells, though marked by profound changes, is also one of remarkable consistency, in which continuities outweigh upheavals in the development of society, and successive waves of outside influence have only served to strengthen a sense of what is unique and native to Japanese experience. The Making of Modern Japan takes us to the core of this experience as it illuminates one of the contemporary world’s most compelling transformations.

"Mid-nineteenth century Russian radicals who witnessed the Meiji Restoration saw it as the most sweeping revolution in recent history and the impetus for future global progress. Acting outside imperial encounters, they initiated underground transnational networks with Japan. Prominent intellectuals and cultural figures, from Peter Kropotkin and Lev Tolstoy to Saigo Takamori and Tokutomi Roka, pursued these unofficial relationships through correspondence, travel, and networking, despite diplomatic and military conflicts between their respective nations. Tracing these non-state networks, Anarchist Modernity uncovers a major current in Japanese intellectual and cultural life between 1860 and 1930 that might be described as “cooperatist anarchist modernity”—a commitment to realizing a modern society through mutual aid and voluntary activity, without the intervention of state governance. These efforts later crystallized into such movements as the Nonwar Movement, Esperantism, and the popularization of the natural sciences. Examining cooperatist anarchism as an intellectual foundation of modern Japan, Sho Konishi offers a new approach to Japanese history that fundamentally challenges the “logic” of Western modernity. It looks beyond this foundational construct of modern history writing to understand people, practices, and cultural expressions that have been forgotten or dismissed as products of anti-modern nativist counter urges against the West."

Karatani Kojin is one of Japan's leading critics. In his work as a theoretician, he has described Modernity as have few others; he has re-evaluated the literature of the entire Meiji period and beyond. As one critic has said, Karatani's thought "has had a profound effect on the way we formulate the questions we ask about modern literature and culture ... [his] argument is compelling, moving even, and in the end the reader comes away with a different understanding not only of modern Japanese literature but of modern Japan itself." Among the many authors discussed are Soseki Natsume, Doppo Kunikida, Katai Tayama, and Shoyo Tsubouchi.

Lippit offers the first book-length study in English of Japanese modernist fiction from the 1920s to the 1930s. Through close readings of four leading figures of this movement--Akutagawa, Yokomitsu, Kawabata, and Hayashi--Lippit aims to establish a theoretical and historical framework for the analysis of Japanese modernism.

Combining a detailed account of the situation in Japanese film and criticism with unique close analyses of Kitano's films from Violent Cop to Takeshis, the author relates the director to issues of contemporary cinema, Japanese national identity, and globalism.

The Research Guide to Japanese Film Studies provides a snapshot of all the archival and bibliographic resources available to students and scholars of Japanese cinema. Among the nations of the world, Japan has enjoyed an impressively lively print culture related to cinema. The first film books and periodicals appeared shortly after the birth of cinema, proliferating wildly in the 1910s with only the slightest pause in the dark days of World War II. The numbers of publications match the enormous scale of film production, but with the lack of support for film studies in Japan, much of it remains as uncharted territory, with few maps to negotiate the maze of material. This book is the first comprehensive guide ever published for approaching the complex archive for Japanese cinema. It lists all the libraries and film archives in the world with significant collections of film prints, still photographs, archival records, books, and periodicals. It provides a full annotated bibliography of the core books and magazines for the field. And it supplies hints for how to find and access materials for any research project. Above and beyond that, Nornes and Gerow’s Research Guide to Japanese Film Studies constitutes a comprehensive overview of the impressive dimensions and depth of the print culture surrounding Japanese film, and a guideline for future research in the field. This is an essential book for anyone seriously thinking about Japan and its cinema.

During America's Gilded Age (dates), the country was swept by a mania for all things Japanese. It spread from coast to coast, enticed everyone from robber barons to street vendors with its allure, and touched every aspect of life from patent medicines to wallpaper. Americans of the time found in Japanese art every design language: modernism or tradition, abstraction or realism, technical virtuosity or unfettered naturalism, craft or art, romance or functionalism. The art of Japan had a huge influence on American art and design. Title compares juxtapositions of American glass, silver and metal arts, ceramics, textiles, furniture, jewelry, advertising, and packaging with a spectrum of Japanese material ranging from expensive one-of-a-kind art crafts to mass-produced ephemera. Beginning in the Aesthetic movement, this book continues through the Arts & Crafts era and ends in Frank Lloyd Wright's vision, showing the reader how that model became transformed from Japanese to American in design and concept. Hannah Sigur is an art historian, writer, and editor with eight years' residence and study in East and Southeast Asia. She has a master's degree from the Institute of Fine Arts, New York University, and is completing a PhD in the arts of Japan. Her writings include co-authoring A Master Guide to the Art of Floral Design (Timber Press, 2002), which is listed in "The Best Books of 2002" by The Christian Science Monitor and is now in its second edition; and "The Golden Ideal: Chinese Landscape Themes in Japanese Art," in Lotus Leaves, A Master Guide to the Art of Floral Design (2001). She lives in Berkeley.

Japanese Cinema includes twenty-four chapters on key films of Japanese cinema, from the silent era to the present day, providing a comprehensive introduction to Japanese cinema history and Japanese culture and society. Studying a range of important films, from Late Spring, Seven Samurai and In the Realm of the Senses to Godzilla, Hana-Bi and Ring, the collection includes discussion of all the major directors of Japanese cinema including Ozu, Mizoguchi, Kurosawa, Oshima, Suzuki, Kitano and Miyazaki. Each chapter discusses the film in relation to aesthetic, industrial or critical issues and ends with a complete filmography for each director. The book also includes a full glossary of terms and a comprehensive bibliography of readings on Japanese cinema. Bringing together leading international scholars and showcasing pioneering new research, this book is essential reading for all students and general readers interested in one of the world’s most important film industries.

Yoshimi questioned the very nature of thought, arguing that thinking is less a subjective act than an opening to alterity. His works were central in drawing Japanese attention to the problems inherent in Western colonialism & to the cultural importance of Asia.