Deleuze, Japanese Cinema, and the Atom Bomb establishes the first ever sustained encounter between Gilles Deleuze’s Cinema books and post-war Japanese cinema, exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation and political censorship to the social and cultural freedoms of the 1960s and beyond, the book examines how images of the nuclear event appear in post-war Japanese cinema. -/- Using Deleuze’s taxonony (...) of cinema, each chapter begins by focusing upon one or more of three key Deleuzian themes – image, history and thought – before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira, Shindo Kaneto, Oshima Nagisa and Imamura Shohei; popular and cult classics – Godzilla (1954), Akira (1988) and Tetsuo (1989); contemporary genre flicks – Ring (1998), Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. A series of tables clarify the conceptual components deployed within the text; and each film is illustrated with a number of stills. (shrink)

An analysis of Japanese horror films from the 1990s and 2000s using Deleuzian concepts.

A review of Nightmare Japan, by Jay McRoy.

Victor Fan's dialogue between Buddhism and Euro-American philosophy is the first of its kind in film and media studies. From Chinese queer cinema to a reexamination of Japanese master Ozu's work and its historical reception to Christian Petzold's 2018 existential thriller Transit, Cinema Illuminating Reality forges a remarkable path between Buddhist studies and cinema studies, casting vital new light on both of these important subjects.

This article introduces the unique Asian film technique of the “empty shot” from the perspective of Chinese philosophical thought and aesthetics. In Chinese cinema, the “empty shot” is understood as a shot comprised of nonhuman subjects, distinct from both the establishing shot and the cutaway. Perhaps due to the lack of understanding of its philosophical grounding, the “empty shot” has not received much attention in Anglophone film studies, and has been criticized as an overgeneralised concept. This article first relates (...) the “empty shot” to the more widely accepted “pillow shot” in Anglophone studies of Japanese cinema. This article aims to make visible a non-anthropocentric worldview conveyed through the “empty shot”, and to make space for the potentialities of this film device, which may also be found in non-Chinese cinemas. It explains the “empty shot”’s central features: firstly, its visible scenes are imbued with invisible emotion, leaving space for the audience to feel what the characters are feeling. Second, it facilitates the generation of qi or “air” in a film, indicating the circulation of qi in a process of dynamic transformation between “actual” and “virtual”. Thirdly, the “empty shot” communicates with the audience, allowing them to more fully experience natural scenery and to encounter other beings while suspending everyday experiences, existing biases, and the separation between self and other. (shrink)

Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film's aesthetics and function, this book reads the (...) writing, films, and art of Luis Buñuel, Salvador Dalí, Man Ray, André Breton, André Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell and recognizes their significance for the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese _Ring_ ; and a YouTube channel devoted to Rock Hudson. Offering a positive alternative to cinema's perceived crisis of realism, this innovative study enriches the meaning of cinematic spectatorship in the twenty-first century. (shrink)

This paper explores the role of Confucian education in the perception and representation of the image of the Japanese soldiers in Chinese cultural products. The paper recognizes that perceptions have been greatly affected by governmental demands as well as by other changing aspects that have evolved alongside societal changes, and traces a brief panorama of Japanese imperialism as reflected in popular cinema across different time periods. Finally, the paper tries to illuminate Sino-Japanese relations in the context (...) of Confucianism and collectivism, extending the argument to include the international community at large. (shrink)

Between the mid-1960s and the early 1970s, the quotidian dimension took political centrality in Japan thanks to the leading role of the New Left movement and its ideology. This went hand in hand with an appreciation of the philosophical approaches of Marxist intellectuals such as Jun Tosaka and Gorō Hani, who saw the quotidian as a fundamental space for historical transformation. We know how Tosaka and Hani developed an everyday-centred philosophy of history through their writings, but we know little about (...) how formats other than the written word – such as cinema – contributed to thinking historical reality from the same ideological approach. To address this gap in our understanding, this article analyses the intersection of two highly representative films with Tosaka and Hani’s historical thought: Secrets Within Walls ( Kabe no naka no himegoto, Kōji Wakamatsu, 1965) and Ceremonies ( Gishiki, Nagisa Ōshima, 1971). These films’ cinematic allegorisation of post-war Japan’s everyday relationships was a way to reflect on the political character of that period. (shrink)

The subject of the study is the color meaning in the film of the famous Chinese director Zhang Yimou "Hero", the conceptual understanding of color as the main semantic element of the artistic solution. The object of research is the techniques of visual solutions in cinema. The perception of color in the culture of different peoples differs in certain nuances and depends on many factors, including national traditions and historically established stereotypes. Films by Chinese, Korean, and Japanese filmmakers (...) are interesting from the point of view of color solutions, as they differ in artistic originality and often offer the Russian audience an extraordinary semantic solution of the idea not only at the level of comprehension of the content, but also at the level of a specific color palette. The author similarly examines the color symbolism of Zhang Yimou's film "Hero". The conceptual content of the visual-figurative series, the originality of the coloristic solution of the film is comprehended. The scientific novelty of the article lies in the study of the color symbolism of Zhang Yimou's film "Hero" in the aspect of the correlation between the perception of the coloristic solution of the visual series and the conceptual content of the film. The author comes to the conclusion that despite the ambivalence of perception of a particular color in visual art, the coloristic solution is predetermined by the conceptual content of each episode, so color becomes the leading semantic concept of Zhang Yimou's film "Hero". (shrink)

The Thin Red Line is the third feature-length film from acclaimed director Terrence Malick, set during the struggle between American and Japanese forces for Guadalcanal in the South Pacific during World War Two. It is a powerful, enigmatic and complex film that raises important philosophical questions, ranging from the existential and phenomenological to the artistic and technical. This is the first collection dedicated to exploring the philosophical aspects of Malick’s film. Opening with a helpful introduction that places the film (...) in context, five essays, four of which were specially commissioned for this collection, go on to examine the following: the exploration of Heideggerian themes – such as being-towards-death and the vulnerability of Dasein’s world – in The Thin Red Line how Malick’s film explores and cinematically expresses the embodied nature of our experience of, and agency in, the world Malick’s use of cinematic techniques, and how the style of his images shapes our affective, emotional, and cognitive responses to the film the role that images of nature play in Malick’s cinema, and his ‘Nietzschean’ conception of human nature. The Thin Red Line is essential reading for students interested in philosophy and film or phenomenology and existentialism. It also provides an accessible and informative insight into philosophy for those in related disciplines such as film studies, literature and religion. Contributors: Simon Critchley, Hubert Dreyfus and Camilo Prince, David Davies, Amy Coplan, Iain Macdonald. (shrink)

Bioethics at the Movies explores the ways in which popular films engage basic bioethical concepts and concerns. Twenty philosophically grounded essays use cinematic tools such as character and plot development, scene-setting, and narrative-framing to demonstrate a range of principles and topics in contemporary medical ethics. The first section plumbs popular and bioethical thought on birth, abortion, genetic selection, and personhood through several films, including The Cider House Rules, Citizen Ruth, Gattaca, and I, Robot. In the second section, the contributors examine (...) medical practice and troubling questions about the quality and commodification of life by way of Dirty Pretty Things, Eternal Sunshine of the Spotless Mind, and other movies. The third section's essays use Million Dollar Baby, Critical Care, Big Fish, and Soylent Green to show how the medical profession and society at large view issues related to aging, death, and dying. A final section makes use of Extreme Measures and select Spanish and Japanese films to discuss two foundational matters in bioethics: the role of theories and principles in medicine and the importance of cultural context in devising care. Structured to mirror bioethics and cinema classes, this innovative work includes end-of-chapter questions for further consideration and contributions from scholars from the United States, Canada, the United Kingdom, Israel, Spain, and Australia. Contributors: Robert Arp, Ph.D., Michael C. Brannigan, Ph.D., Matthew Burstein, Ph.D., Antonio Casado da Rocha, Ph.D., Stephen Coleman, Ph.D., Jason T. Eberl, Ph.D., Paul J. Ford, Ph.D., Helen Frowe, M.A., Colin Gavaghan, Ph.D., Richard Hanley, Ph.D., Nancy Hansen, Ph.D., Al-Yasha Ilhaam, Ph.D., Troy Jollimore, Ph.D., Amy Kind, Ph.D., Zana Marie Lutfiyya, Ph.D., Terrance McConnell, Ph.D., Andy Miah, Ph.D., Nathan Norbis, Ph.D., Kenneth Richman, Ph.D., Karen D. Schwartz, LL.B., M.A., Sandra Shapshay, Ph.D., Daniel Sperling, LL.M., S.J.D., Becky Cox White, R.N., Ph.D., Clark Wolf, Ph.D. (shrink)

Am I pretty? A simple question that epitomises both beauty and vulgarity in its monstrous representation of feminine embodiment. In this work, I look at the 2007 Japanese Horror film Carved: The Slit Mouth Woman directed by Koji Shiraishi and its relation to the way in which it the monster Kuchisake-Onna presents the idealised role of motherhood in Japan today. Through this critical examination of the film, we see how communities establish social order and gender scripts of the feminine (...) within the media, perpetuating hegemonic normalised roles through the monstrous feminine. This work looks at the Japanese urban legend of Kuchisake-Onna and compares it with the movie monster Carved as it projects forms of femininity and motherhood. By cross-referencing the telling of the legend with popular cinema we can see how media influence takes on a broader context towards the gendering of woman. In both the legend and the film, we see how women seek the approval of self and sovereignty, which is demonised, by revealing herself through sexual autonomy. (shrink)

Akira Kurosawa is arguably known as the director who opened up Japanese film to Western audiences and following his death in 1998, a process of reflection has begun about his life's work as whole and its legacy to the cinema and its global audiences. Rashomon has arguably become the best known Japanese film, ever. After this, his twelfth film, Kurosawa's reputation was firmly established in international cinema, and Rashomon continues to be discussed and imitated more than (...) sixty years after its first screening. This volume addresses issues beyond the realm of Rashomon within film studies, and to do with the Rashomon effect which itself has become a widely recognized English term referring to significantly different perspectives and interpretations of different eyewitnesses to the same dramatic event. The dual figures of ripples and circles comprise the organizing image and principle of this book as each chapter addresses either the movement of ripples, representing the continuing and vibrant influence of Rashomon effects into the twenty-first century, or of circles, representing specific events, such as the publication of a new script, a particular production, or a remake. (shrink)

This is the third in a series dealing with the concept of self and its importance in understanding Chinese, Japanese, and Indian cultures. The authors examine the relationship between self and image and its significance in attaining a deeper knowledge of Chinese, Japanese, and Indian cultures. The relationship between self and image is as complex as it is fascinating. It takes on different meanings and significances in diverse cultures. In this volume, the focus of attention is largely on (...) representational practices and symbolic media, such as literature, cinema, art, and dance. By examining both classical and contemporary works associated with China, India, and Japan, the authors seek, on the one hand, to demonstrate the intricate relationship between self and image and, on the other, to make use of that relationship to further our understanding of these cultures. (shrink)

Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its (...) narrative. Ask This of Rikyū is one such example. In this paper, I will suggest that film can explore the relation of aesthetic experience to the ethico-political character of history, opening up ways of responding aesthetically to concrete political conditions. Ask This of Rikyū accomplishes this by interrogating the possibility of a wabi-cinema, established with respect to its title character... (shrink)

In the United States, a series of survey studies have been done to examine corporate managers' views of business ethics and various business practices (Baumhart, 1961; Brenner and Molander, 1977; Vitell and Festervand, 1987). This paper is a replication study conducted in Japan of those American studies. The results of the study suggest that Japanese managers tend to be more situational in their ethical orientation than Americans. The results also show that the company policy on ethics is the most (...) important factor influencing Japanese managers' ethical decisions. (shrink)

This issue ofScience in Contextis dedicated to the question of whether there was a “cinematographic turn” in the sciences around the beginning of the twentieth century. In 1895, the Lumière brothers presented their projection apparatus to the Parisian public for the first time. In 1897, the Scottish medical doctor John McIntyre filmed the movement of a frog's leg; in Vienna, in 1898, Ludwig Braun made film recordings of the contractions of a living dog's heart (cf. Cartwright 1992); in 1904, Lucien (...) Bull filmed in slow motion a bullet entering a soap bubble. In 1907 and 1908, respectively, Max Seddig and Victor Henri recorded Brownian motion with the help of a cinematograph (Curtis 2005). In 1909, the Swiss Julius Ries was one of the first to film fertilization and cell division in sea urchins (Ries 1909). In that same year in Paris, Louise Chevroton and Frédéric Vlès used a film camera to observe cell division in the same object (Chevroton and Vlès 1909). As early as 1898, the Parisian surgeon Eugène-Louis Doyen began filming several of his operations, among them the spectacular separation of the Siamese twins Doodica and Radica (Bonah and Laukötter 2009). And in England, the scientist and zoologist Francis Martin Duncan produced an array of popular-scientific films for Charles Urban: “The unseen world: A series of microscopic studies” was presented to the public in the Alhambra Theatre in London for the first time in 1903 (see Gaycken in this issue). (shrink)

This study explored the relationship between professional quality of life and emotion work and the major stress factors related to abortion care in Japanese obstetric and gynecological nurses and midwives. Between October 2011 and January 2012, questionnaires that included questions concerning eight stress factors, the Professional Quality of Life Scale, and the Japanese version of the Frankfurt Emotional Work Scale, were answered by 255 nurses and midwives working in abortion and childbirth services. Professional Quality of Life scores (compassion (...) fatigue, compassion satisfaction, burnout) were significantly associated with stress factors and emotion work. Multiple regression analysis revealed that of all the evaluated variables, the Japanese version of the Frankfurt Emotional Work Scale score for negative emotions display was the most significant positive predictor of compassion fatigue and burnout. The stress factors “thinking that the aborted fetus deserved to live” and “difficulty in controlling emotions during abortion care” were associated with compassion fatigue. These findings indicate that providing abortion services is a highly distressing experience for nurses and midwives. (shrink)

Unlearning is a recurrent theme in Japan. To further understanding of what this entails, we focus on the view of learning laid out by a revered 13th century Zen-inspired playwright. For Zeami, learning involved a movement from the acquisition to unlearning of skills, punctuated by an experience of mushin, followed by creative reemergence. To deepen understandings of this unlearning model, we turn to draw comparison with recent discussions in the Western literature, focusing on Double-Loop Learning and Learning III, both inspired (...) by Bateson. Learning III, which Bateson utilized several Zen references to explicate, appears to gesture towards the alternative punctuation of learning envisaged by Zeami, although differences remain. We then shift to highlight empirical work on contemporary Japanese schooling, highlighting practices which suggest elements of a Zeami-like worldview continue to live on in Japan’s learning culture. Unlearning, when viewed as a living tradition embedded in culture, rather than merely a premodern past or future philosophical possibility, help sets the stage for a transnational, transdisciplinary dialogue on how we learn. We perform our own extended dialogue that led to this piece, a mode of engagement we view as methodological innovation, as we work to unlearn our past parochialisms. (shrink)

Western sociology of the body, despite its attempt to create a somatic approach to human existence, inevitably shares many of the rationalistic and Cartesian assumptions of wider Western sociology. A contrasting, and in many ways radically different approach is that found in both classical and contemporary Japanese thought. In this article two major contemporary Japanese theorists of the body - Ichikawa Hiroshi and Yuasa Yasuo - are introduced and their work examined as distinctive, and in the West virtually (...) unknown, contributions to body analysis. Their views are briefly contrasted with some of the major themes of Western, and in particular British, sociology of the body and the implications of their work for future investigation of the human body are sketched out. (shrink)

Research in the U.S. developed and validated the State Self-Compassion Scale, which measures self-compassionate reactions toward a specific negative event. The current study is aimed at developing the Japanese version of the State Self-Compassion Scale and extending previous findings in the U.S. by showing measurement invariance across sexes and demonstrating the construct validity of this scale. Across two studies, the bifactor exploratory structural equation modeling representation of the SSCS-J showed excellent fit in which a single global factor and most (...) of the specific factors were well defined. Study 1 further provided evidence for the measurement invariance across sexes. The SSCS-J was related with higher trait self-compassion and lower fear of and negative beliefs about self-compassion. In Study 2, participants who were instructed to be self-compassionate reported higher scores in the SSCS-J relative to those in the control condition. These results attest to the replicability of the factor structure of the SSCS in Japan and provide further evidence for the construct validity of this scale. (shrink)

In the writings of the Japanese Pure Land Buddhist Shinran 親鸞 we read: “I, Shinran, do not have a single disciple of my own”. Is he simply being modest? Does Shinran defy discipleship? Does he rule out the possibility of the reception of his thought? The answer to these questions is not clear; nevertheless, what we do know is that the reader of his writings is supposed to arrive at the Buddha’s original teaching. Shinran’s voluminous works, however, exhibit more (...) than an introduction to, or simple interpretation of, the Buddha’s preaching. We may say that Shinran has given us sermons and treatises that manifest an authentic and unique appropriation of the Buddhist tradition, and, therefore, his works offer the possibility of a thoughtful reception for his interpreters and disciples. The philosopher KUKI Shūzō 九鬼周造 wrote remarkable verses about Shinran seven centuries after his death: “I will have no disciple, said Shinran; as for me [Kuki], I long to have his soul”. Kuki’s poetic reflections express Shinran’s quest for an authentic life, and echo back the existentialist aspect of his philosophy. More than this, his words commit him to Shinran as his teacher. Do these words not enact the most authentic discipleship possible? In fact, SAITŌ Takako takes Kuki’s verses as empirical evidence of his receiving the intellectual legacy of Shinran. Thus, at the end of her article, the proof of historical facticity of reception retroactively justifies Saitō’s careful comparison of Kuki’s thought with Shinran’s, which began based on presuming similarities in content. In other words, the factual findings prove the validity of comparing Shinran and Kuki, although a truthful reading is impossible to verify historically. Be that as it may, Kuki’s poetic expression demonstrates the history of the reception of a pre-modern Buddhist by a modern philosopher in Japan, regardless of whether this discipleship was ultimately judged to be authentic and perfected, or an untimely failure. (shrink)

The subject of Western environmental ethics has been widely written about and discussed but the same can not be said of 'Japanese' environmental ethics. This discipline has not been covered in any branch of Japanese philosophy nor has there been sufficient pressure exerted by ecologists on Japanese thinkers and writers to explain how the Japanese code addresses environmental concerns. Although some Japanese scholars have in the past articulated their ideas on working with the natural world, (...) the field covering the spirit and core of Japanese environmental ethics remains largely unexplored. This paper examines and compares the discipline of Japanese environmental ethics, a 'bottom up process', with that of the Western model, a 'top down process'. It defines, and presents a new insight into environmental ethics from the Japanese perspective where the concept of 'living with nature' is more sensitive towards the environment than is the Western one of 'taming nature'. (shrink)

In Western countries, the ideal professional and ethical attributes of healthcare providers and the ideal patient-doctor relationship have been analysed in detail. Other cultures, however, may have different norms, arising in response to diverse healthcare needs, cultural values and offering alternative perspectives. In this paper, drawing a case study, we introduce the concept of Shinmi, used in Japan to describe a desirable approach to medical care. Shinmi means kind or cordial in Japanese. In the medical context, it refers to (...) doctors treating patients with a degree of emotional closeness as if they were the doctors’ own family. We analyse the concept of Shinmi, drawing on virtue ethics. We distinguish two different elements to a Shinmi-na attitude. As illustrated in our example, excessive Shinmi can be problematic for patients and doctors. Furthermore, elements of Shinmi may conflict with existing Western values (for example, norms that encourage emotional detachment and discourage doctors’ treatment of family members). However, if pursued appropriately, we argue that a balanced Shinmi-na approach can be conducive to the goals of medicine. The concept of Shinmi may be valuable for medical students, in Japanese and potentially other health care systems, and help them to cultivate a virtuous approach to meeting the emotional needs of patients. (shrink)

Ambient assisted living technologies are expected to solve a significant number of problems related to elderly care. However, in Japan, limited discourse on the ethical issues concerning their application is hindering the spread of AAL technologies. Against this background, this study explores the ethical perspectives of AAL technology engineers in Japanese companies and the circumstances influencing their perspectives. A qualitative study using semi-structured interviews was conducted. Nineteen Japanese AAL-technology companies were contacted, and nine of them and their engineers (...) responded to the interviews. The contents of the interviews were analyzed with thematic analysis which showed that the engineers had ethical concerns about their products as follows: safety and related conflicts, acceptance of the technology, dependence on the technology, accident liability, fair access to the technologies, and privacy. In relation to these issues, they identified as company employees with regard to the following: responding to social needs, having many users, and cost reduction. They also mentioned being influenced by the Japanese national program for AAL-technology promotion. The engineers experienced dilemmas between the various stakeholders’ interests and they hoped that ethical guidelines for developing AAL technologies would resolve such dilemmas. In conclusion, Japanese AAL-technology engineers tackle ethical issues with regard to the application of their products. The engineers hope for the establishment of guidelines for the ethically responsible development of AAL technologies. The guidelines need to be established and implemented in an interactive manner, in order to avoid their being reduced to a bureaucratic formality. (shrink)

This paper aims to examine the evolution of Japanese studies of international relations since the end of World War II. In so doing, in particular, this paper first looks at the dominant trends and characteristics of Japanese scholarship in this field, and, second, the correlations between the scholarship and Japan's experiences in real international relations. In discussing the evolution of Japanese studies of international relations, I shall divide the years since 1945 into three separate periods: (1) 194589, (...) and (3) 1990 and after. Then, taking the current US–Japan relationship as a case study, I will examine the contemporary characteristics of Japanese scholarship in this field. (shrink)

In this paper, I will describe the history of Japanese science studies (In the Japanese language, the term ?science studies? [Kagaku-ron] is used to indicate a broad area, which covers the history, philosophy, and social studies of science and technology.) from the beginning of the twentieth century to around the mid-1980s, and will argue how depoliticization took place in its history. Japanese science studies was formed under the conspicuous influence of German philosophy before World War II (hereafter (...) WW II), especially in its neo-Kantian tradition. During the military regime, science studies offered a hiding place for Marxists. However, after the end of the Asian-Pacific War, British influence became stronger in the history and sociology of science in two stages. First, logical positivism arrived, in this case, mainly from the USA under the name of ?analytic philosophy.? Second, the American influence was furthered by the introduction of Kuhn?s theory of paradigm which unexpectedly depoliticized Japanese science studies. This trend seems to have reflected the course of the Cold War. After the Fukushima Daiichi Nuclear Disaster, one of the most significant legacies of Cold War Science, we need to review the history of science studies in order to retrieve its ?critical? function. Even though this paper focuses on Japan, comparable reflections should be made worldwide. (shrink)