Lois J. E. Barnett is a Postdoctoral Research Associate at the School of Oriental and African Studies, University of London (SOAS).

This book is a fascinating examination of the market condition for Japanese cinema in a major period of transition. Through detailed historical research it pays attention to the intersection of the film and fashion industries to excavate a vital story of changing sartorial styles and their cultural and social meanings.

• Introduction: Defining, Theorising and Approaching Japanese Film, Fashion and ModernityPart 1 - On Sartoriality and Speaking: ‘Expressive’ Women and Western Attire1.1 - Fashionable female imagery between media formats: Tanizaki Jun’ichirō’s Naomi (1924) and the concept of marketable female star "types"1.2 - Sartoriality and Expressivity Pre- and Post- Sound: The Vernacular Voice, The Western-Attired Woman and the City1.3 - Fashion Commodities Onscreen:the Modern Housewife in Naruse Mikio’s No Blood Relation (Nasanu Naka, 1932) and Masculine Female Attire in Ozu Yasujirō’s Dragnet Girl (Hijōsen no onna, 1933)Part 2 - Sportswear and Hybridity: The National Body and Gender2.1 - Sportswear and Hybridity: The Middle-Class Housewife as Hybridised Consumer Archetype2.2 - Women and the Sporting Body2.3 - Men and the Sporting BodyPart 3 - Menswear and the Modern Boy: Ozu Yasujirō and Western Style for Men3.1 - Historically Contextualising Japanese Male Fashion: Western-style Menswear, the Cinema and Space3.2 - Opposition to Western-style Menswear and the Desire for "Authentic" Japanese Male Commercial Identity Archetypes:Shōchiku’s shōshimin eiga and Ozu’s commercially augmented everyday male life onscreen3.3 – Was Ozu a "Modern Boy"? Negotiating Related Sartorial ArchetypesBook ConclusionReference ListFilmography

Lois J. E. Barnett is a Postdoctoral Research Associate at the School of Oriental and African Studies, University of London (SOAS).

This book is a fascinating examination of the market condition for Japanese cinema in a major period of transition. Through detailed historical research it pays attention to the intersection of the film and fashion industries to excavate a vital story of changing sartorial styles and their cultural and social meanings.

• Introduction: Defining, Theorising and Approaching Japanese Film, Fashion and ModernityPart 1 - On Sartoriality and Speaking: ‘Expressive’ Women and Western Attire1.1 - Fashionable female imagery between media formats: Tanizaki Jun’ichirō’s Naomi (1924) and the concept of marketable female star "types"1.2 - Sartoriality and Expressivity Pre- and Post- Sound: The Vernacular Voice, The Western-Attired Woman and the City1.3 - Fashion Commodities Onscreen:the Modern Housewife in Naruse Mikio’s No Blood Relation (Nasanu Naka, 1932) and Masculine Female Attire in Ozu Yasujirō’s Dragnet Girl (Hijōsen no onna, 1933)Part 2 - Sportswear and Hybridity: The National Body and Gender2.1 - Sportswear and Hybridity: The Middle-Class Housewife as Hybridised Consumer Archetype2.2 - Women and the Sporting Body2.3 - Men and the Sporting BodyPart 3 - Menswear and the Modern Boy: Ozu Yasujirō and Western Style for Men3.1 - Historically Contextualising Japanese Male Fashion: Western-style Menswear, the Cinema and Space3.2 - Opposition to Western-style Menswear and the Desire for "Authentic" Japanese Male Commercial Identity Archetypes:Shōchiku’s shōshimin eiga and Ozu’s commercially augmented everyday male life onscreen3.3 – Was Ozu a "Modern Boy"? Negotiating Related Sartorial ArchetypesBook ConclusionReference ListFilmography

Lois J. E. Barnett is a Postdoctoral Research Associate at the School of Oriental and African Studies, University of London (SOAS).

This book is a fascinating examination of the market condition for Japanese cinema in a major period of transition. Through detailed historical research it pays attention to the intersection of the film and fashion industries to excavate a vital story of changing sartorial styles and their cultural and social meanings.

• Introduction: Defining, Theorising and Approaching Japanese Film, Fashion and ModernityPart 1 - On Sartoriality and Speaking: ‘Expressive’ Women and Western Attire1.1 - Fashionable female imagery between media formats: Tanizaki Jun’ichirō’s Naomi (1924) and the concept of marketable female star "types"1.2 - Sartoriality and Expressivity Pre- and Post- Sound: The Vernacular Voice, The Western-Attired Woman and the City1.3 - Fashion Commodities Onscreen:the Modern Housewife in Naruse Mikio’s No Blood Relation (Nasanu Naka, 1932) and Masculine Female Attire in Ozu Yasujirō’s Dragnet Girl (Hijōsen no onna, 1933)Part 2 - Sportswear and Hybridity: The National Body and Gender2.1 - Sportswear and Hybridity: The Middle-Class Housewife as Hybridised Consumer Archetype2.2 - Women and the Sporting Body2.3 - Men and the Sporting BodyPart 3 - Menswear and the Modern Boy: Ozu Yasujirō and Western Style for Men3.1 - Historically Contextualising Japanese Male Fashion: Western-style Menswear, the Cinema and Space3.2 - Opposition to Western-style Menswear and the Desire for "Authentic" Japanese Male Commercial Identity Archetypes:Shōchiku’s shōshimin eiga and Ozu’s commercially augmented everyday male life onscreen3.3 – Was Ozu a "Modern Boy"? Negotiating Related Sartorial ArchetypesBook ConclusionReference ListFilmography