Joanne Bernardi is Professor of Japanese/Film and Media, University of Rochester. Her background includes East Asian Studies, film preservation, filmmaking, and photography. She directs the Re-Envisioning Japan DH Project; publications include Japanese and silent cinema, film historiography, screenwriting, material culture, tourism, popular culture, and digital humanities.Shota T. Ogawa is Assistant Professor of Cinema Studies at Nagoya University, Japan. With a background in Visual and Cultural Studies, his research interests include postcolonial hybridity in Japanese cinema, tourism and travel films in imperial Japan, and trans-cultural migration of passing narratives.

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• Introduction Part 1: Decentering Classical Cinema: Modernity, Translation, and Mobilization 1. Suspense and Border Crossing: Ozu Yasujirō’s Crime Melodrama 2. Beyond Mt. Fuji and the Lenin Cap: Identity Crisis in Taniguchi Senkichi’s Akasen kichi (The Red Light Military Base, 1953) 3. Home Movies of the Revolution: Proletarian Filmmaking and Counter-Mobilization in Interwar Japan 4. When Marnie Was There: Female Friendship Film and the Genealogy of Queer Girls Culture 5. Making Sense of Nakai Masakazu’s Film Theory, "Kino Satz" 6. Geysers of Another Nature: The Optical Unconscious of the Japanese Science Film Part 2: Questions of Industry: Critical Studies of Regulatory Frameworks, Creative Labor, and Distributive Networks 7. Kaiju Films as Exportable Content: Reassessing the Function of the Japanese Film Export Promotion Association 8. “Fugitives” from the Studio System: Ikebe Ryō, Sada Keiji, and the Transition from Cinema to Television in the Early 1960s 9. Solo Animation in Japan: Empathy for the Drawn Body 10. Media Models of "Amateur" Film and Manga Part 3: Intermedia as an Approach: Tracing Genealogies across Disciplines and Media 11. Utsushie: Japanese Magic Lantern Performance as Pre-cinematic Projection Practice 12. "Inter-Mediating" Global Modernity: Benshi Film Narrators, Multisensory Performance, and Fan Culture 13. Between Silent and Sound: The Liminal Space of the Japanese "Sound Version" 14. Marionettes No Longer: Politics in the Early Puppet Animation of Kawamoto Kihachirō 15. Rhetorics of Autonomy and Mobility in Japanese "AAA" Games: The Metal Gear Solid and Resident Evil Series within a Global Media Context 16. Pointing Through the Screen: Archiving, Surveillance, and Atomization in the Wake of Japan’s 2011 Triple Disasters Part 4: The Object Life of Film: Site-Specific Approaches to Japanese Cinema Studies 17. A Historical Survey of Film Archiving in Japan 18. Japanese Film History and the Challenges of IMAGICA WEST Corp. 19. A Case Study of Japanese Film Exhibition in North America: The Japan Society, New York 20. Regional Film Archive in Transit: Yasui Yoshio and Kobe Planet Film Archive 21. New Paths toward Preserving Japanese Cinema: The Toy Film Museum Backstory

Joanne Bernardi is Professor of Japanese/Film and Media, University of Rochester. Her background includes East Asian Studies, film preservation, filmmaking, and photography. She directs the Re-Envisioning Japan DH Project; publications include Japanese and silent cinema, film historiography, screenwriting, material culture, tourism, popular culture, and digital humanities.Shota T. Ogawa is Assistant Professor of Cinema Studies at Nagoya University, Japan. With a background in Visual and Cultural Studies, his research interests include postcolonial hybridity in Japanese cinema, tourism and travel films in imperial Japan, and trans-cultural migration of passing narratives.

Select Guide Rating

• Introduction Part 1: Decentering Classical Cinema: Modernity, Translation, and Mobilization 1. Suspense and Border Crossing: Ozu Yasujirō’s Crime Melodrama 2. Beyond Mt. Fuji and the Lenin Cap: Identity Crisis in Taniguchi Senkichi’s Akasen kichi (The Red Light Military Base, 1953) 3. Home Movies of the Revolution: Proletarian Filmmaking and Counter-Mobilization in Interwar Japan 4. When Marnie Was There: Female Friendship Film and the Genealogy of Queer Girls Culture 5. Making Sense of Nakai Masakazu’s Film Theory, "Kino Satz" 6. Geysers of Another Nature: The Optical Unconscious of the Japanese Science Film Part 2: Questions of Industry: Critical Studies of Regulatory Frameworks, Creative Labor, and Distributive Networks 7. Kaiju Films as Exportable Content: Reassessing the Function of the Japanese Film Export Promotion Association 8. “Fugitives” from the Studio System: Ikebe Ryō, Sada Keiji, and the Transition from Cinema to Television in the Early 1960s 9. Solo Animation in Japan: Empathy for the Drawn Body 10. Media Models of "Amateur" Film and Manga Part 3: Intermedia as an Approach: Tracing Genealogies across Disciplines and Media 11. Utsushie: Japanese Magic Lantern Performance as Pre-cinematic Projection Practice 12. "Inter-Mediating" Global Modernity: Benshi Film Narrators, Multisensory Performance, and Fan Culture 13. Between Silent and Sound: The Liminal Space of the Japanese "Sound Version" 14. Marionettes No Longer: Politics in the Early Puppet Animation of Kawamoto Kihachirō 15. Rhetorics of Autonomy and Mobility in Japanese "AAA" Games: The Metal Gear Solid and Resident Evil Series within a Global Media Context 16. Pointing Through the Screen: Archiving, Surveillance, and Atomization in the Wake of Japan’s 2011 Triple Disasters Part 4: The Object Life of Film: Site-Specific Approaches to Japanese Cinema Studies 17. A Historical Survey of Film Archiving in Japan 18. Japanese Film History and the Challenges of IMAGICA WEST Corp. 19. A Case Study of Japanese Film Exhibition in North America: The Japan Society, New York 20. Regional Film Archive in Transit: Yasui Yoshio and Kobe Planet Film Archive 21. New Paths toward Preserving Japanese Cinema: The Toy Film Museum Backstory

Joanne Bernardi is Professor of Japanese/Film and Media, University of Rochester. Her background includes East Asian Studies, film preservation, filmmaking, and photography. She directs the Re-Envisioning Japan DH Project; publications include Japanese and silent cinema, film historiography, screenwriting, material culture, tourism, popular culture, and digital humanities.Shota T. Ogawa is Assistant Professor of Cinema Studies at Nagoya University, Japan. With a background in Visual and Cultural Studies, his research interests include postcolonial hybridity in Japanese cinema, tourism and travel films in imperial Japan, and trans-cultural migration of passing narratives.

Select Guide Rating

• Introduction Part 1: Decentering Classical Cinema: Modernity, Translation, and Mobilization 1. Suspense and Border Crossing: Ozu Yasujirō’s Crime Melodrama 2. Beyond Mt. Fuji and the Lenin Cap: Identity Crisis in Taniguchi Senkichi’s Akasen kichi (The Red Light Military Base, 1953) 3. Home Movies of the Revolution: Proletarian Filmmaking and Counter-Mobilization in Interwar Japan 4. When Marnie Was There: Female Friendship Film and the Genealogy of Queer Girls Culture 5. Making Sense of Nakai Masakazu’s Film Theory, "Kino Satz" 6. Geysers of Another Nature: The Optical Unconscious of the Japanese Science Film Part 2: Questions of Industry: Critical Studies of Regulatory Frameworks, Creative Labor, and Distributive Networks 7. Kaiju Films as Exportable Content: Reassessing the Function of the Japanese Film Export Promotion Association 8. “Fugitives” from the Studio System: Ikebe Ryō, Sada Keiji, and the Transition from Cinema to Television in the Early 1960s 9. Solo Animation in Japan: Empathy for the Drawn Body 10. Media Models of "Amateur" Film and Manga Part 3: Intermedia as an Approach: Tracing Genealogies across Disciplines and Media 11. Utsushie: Japanese Magic Lantern Performance as Pre-cinematic Projection Practice 12. "Inter-Mediating" Global Modernity: Benshi Film Narrators, Multisensory Performance, and Fan Culture 13. Between Silent and Sound: The Liminal Space of the Japanese "Sound Version" 14. Marionettes No Longer: Politics in the Early Puppet Animation of Kawamoto Kihachirō 15. Rhetorics of Autonomy and Mobility in Japanese "AAA" Games: The Metal Gear Solid and Resident Evil Series within a Global Media Context 16. Pointing Through the Screen: Archiving, Surveillance, and Atomization in the Wake of Japan’s 2011 Triple Disasters Part 4: The Object Life of Film: Site-Specific Approaches to Japanese Cinema Studies 17. A Historical Survey of Film Archiving in Japan 18. Japanese Film History and the Challenges of IMAGICA WEST Corp. 19. A Case Study of Japanese Film Exhibition in North America: The Japan Society, New York 20. Regional Film Archive in Transit: Yasui Yoshio and Kobe Planet Film Archive 21. New Paths toward Preserving Japanese Cinema: The Toy Film Museum Backstory