Alexander Zahlten is Associate Professor of East Asian Languages and Civilizations at Harvard University and coeditor of Media Theory in Japan, also published by Duke University Press.

"A rich historical analysis. Recommended." - S. Pepper (Choice) "Provocative." - Etsuo Kono (Japan News) “Deeply thought-provoking. . . . Alexander Zahlten’s study represents a major scholarly contribution to the fields of Japanese film and media studies and allied disciplines. The End of Japanese Cinema is a remarkable achievement in the scholarship of film and media, both from and in Japan.”- Rea Amit (Film Quarterly) “The End of Japanese Cinema is an innovative account of some significant currents within modern Japanese film which have tended to be marginalised.” - Alexander Jacoby (Sight & Sound) "Zahlten’s nuanced readings of these industrial genres introduce concepts and terms that will be used productively for years to come. This book is an important contribution and should be read widely by scholars of Japan studies and film and media studies, particularly those interested in contemporary Japan." - Charles Exley (Journal of Japanese Studies)

• Acknowledgments  viiIntroduction  11. Establishing Pink Film  252. Pink Times and Pink Spaces  633. Kadokawa Film  964. The Radicalization of Kadokawa Film  1225. V-Cinema  1526. Subgenres: Violence, Finances, Sex, and True Accounts  176Conclusion: Present Histories  204Notes  225Bibliography  273Index  285

Alexander Zahlten is Associate Professor of East Asian Languages and Civilizations at Harvard University and coeditor of Media Theory in Japan, also published by Duke University Press.

"A rich historical analysis. Recommended." - S. Pepper (Choice) "Provocative." - Etsuo Kono (Japan News) “Deeply thought-provoking. . . . Alexander Zahlten’s study represents a major scholarly contribution to the fields of Japanese film and media studies and allied disciplines. The End of Japanese Cinema is a remarkable achievement in the scholarship of film and media, both from and in Japan.”- Rea Amit (Film Quarterly) “The End of Japanese Cinema is an innovative account of some significant currents within modern Japanese film which have tended to be marginalised.” - Alexander Jacoby (Sight & Sound) "Zahlten’s nuanced readings of these industrial genres introduce concepts and terms that will be used productively for years to come. This book is an important contribution and should be read widely by scholars of Japan studies and film and media studies, particularly those interested in contemporary Japan." - Charles Exley (Journal of Japanese Studies)

• Acknowledgments  viiIntroduction  11. Establishing Pink Film  252. Pink Times and Pink Spaces  633. Kadokawa Film  964. The Radicalization of Kadokawa Film  1225. V-Cinema  1526. Subgenres: Violence, Finances, Sex, and True Accounts  176Conclusion: Present Histories  204Notes  225Bibliography  273Index  285

Alexander Zahlten is Associate Professor of East Asian Languages and Civilizations at Harvard University and coeditor of Media Theory in Japan, also published by Duke University Press.

"A rich historical analysis. Recommended." - S. Pepper (Choice) "Provocative." - Etsuo Kono (Japan News) “Deeply thought-provoking. . . . Alexander Zahlten’s study represents a major scholarly contribution to the fields of Japanese film and media studies and allied disciplines. The End of Japanese Cinema is a remarkable achievement in the scholarship of film and media, both from and in Japan.”- Rea Amit (Film Quarterly) “The End of Japanese Cinema is an innovative account of some significant currents within modern Japanese film which have tended to be marginalised.” - Alexander Jacoby (Sight & Sound) "Zahlten’s nuanced readings of these industrial genres introduce concepts and terms that will be used productively for years to come. This book is an important contribution and should be read widely by scholars of Japan studies and film and media studies, particularly those interested in contemporary Japan." - Charles Exley (Journal of Japanese Studies)

• Acknowledgments  viiIntroduction  11. Establishing Pink Film  252. Pink Times and Pink Spaces  633. Kadokawa Film  964. The Radicalization of Kadokawa Film  1225. V-Cinema  1526. Subgenres: Violence, Finances, Sex, and True Accounts  176Conclusion: Present Histories  204Notes  225Bibliography  273Index  285