Adam Bingham – författare

This book looks at some of the key genres in Japanese cinema since 1997. In several cases it considers in detail the ways in which individual films have both drawn and departed from those films that have comprised the key works and trends in these generic categories, and in others it looks at some significant recent developments that have little real precedence in filmmaking in Japan. Through close textual analysis of representative films, the study seeks to elucidate the prevalence of repetition and variation in contemporary Japanese genre cinema, to understand some of the reasons behind this paradigm, and analyze where relevant how and to what extent new modes or generic groups fit into the schema. In so doing it seeks for the first time in English language discourse to offer an academic appreciation and overview of popular Japanese of the last two decades.

This book looks at some of the key genres in Japanese cinema since 1997. In several cases it considers in detail the ways in which individual films have both drawn and departed from those films that have comprised the key works and trends in these generic categories, and in others it looks at some significant recent developments that have little real precedence in filmmaking in Japan. Through close textual analysis of representative films, the study seeks to elucidate the prevalence of repetition and variation in contemporary Japanese genre cinema, to understand some of the reasons behind this paradigm, and analyze where relevant how and to what extent new modes or generic groups fit into the schema. In so doing it seeks for the first time in English language discourse to offer an academic appreciation and overview of popular Japanese of the last two decades.

Part of the Directory of World Cinema series, this title includes contributions from some of the leading academics in the field. It features film recommendations from a range of genres for those interested in watching more cinema from these regions. It also features comprehensive filmography as an index. Given the prevalence of important new wave cinemas across Eastern Central Europe in the post-war, post-Stalinist era (Poland, Hungary, Czechoslovakia and Yugoslavia), this new volume of the Directory of World Cinema series charts the trends of these national cinemas.In the decades since the 1970s, the continuing popularity of filmmakers from these countries (including Krzysztof Kieslowski, Béla Tarr, István Szabó and Jiri Menzel), coupled with a recent international surge in the visibility of the cinemas of Serbia, Slovakia and Romania, means that these countries in East Central Europe are a central focus in the directory. Introductory essays of this title establish key players and explore important genres such as war, comedy, surrealism and art cinema while reviews and case studies analyse individual titles in considerable depth. For the film studies scholar, or for all those who love cinema and want to learn more, Directory of World Cinema: East Europe will be an essential companion.