• The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies

    Pages: 320
    Illustrations: 11 illustrations
    Sales/Territorial Rights: World
    Series Editor(s): Ross Yelsey
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  • Acknowledgments  vii
    Introduction  1
    1. Establishing Pink Film  25
    2. Pink Times and Pink Spaces  63
    3. Kadokawa Film  96
    4. The Radicalization of Kadokawa Film  122
    5. V-Cinema  152
    6. Subgenres: Violence, Finances, Sex, and True Accounts  176
    Conclusion: Present Histories  204
    Notes  225
    Bibliography  273
    Index  285
  • "A rich historical analysis. Recommended."



  • "A rich historical analysis. Recommended."


  • "Thanks to the studio system and the canonical work of auteurs, there was a time when everyone knew the greatness of Japanese film—when everyone knew exactly what Japanese cinema was. This gave way to a sense of decline, if not an end, after the demise of the new wave. In his provocative new book, Alexander Zahlten directs us to the curious, protean margins of the industry to redefine our understanding of 'Japanese cinema.'" — Markus Nornes, coauthor of, A Research Guide to Japanese Film Studies

    "Alexander Zahlten emphasizes a constellation of cinematic attributes that have rarely been considered so seriously in Japanese film and media studies: industry and industrial structures, distribution infrastructures, and viewing spaces. Demonstrating a special command of industry history, Zahlten facilitates fruitful dialogue between text and context that will change how people talk about Japanese cinema. A great read." — Miryam Sas, author of, Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return

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  • Description

    In The End of Japanese Cinema Alexander Zahlten moves film theory beyond the confines of film itself, attending to the emergence of new kinds of aesthetics, politics, temporalities, and understandings of film and media. He traces the evolution of a new media ecology through deep historical analyses of the Japanese film industry from the 1960s to the 2000s. Zahlten focuses on three popular industrial genres: Pink Film (independently distributed softcore pornographic films), Kadokawa (big-budget productions as part of a transmedia strategy), and V-Cinema (direct-to-video films). He examines the conditions of these films' production to demonstrate how the media industry itself becomes part of the politics of the media text and to highlight the complex negotiation between media and politics, culture, and identity in Japan. Zahlten points to a different history of film, one in which a once-powerful film industry transformed into becoming only one component within a complex media-mix ecology. In so doing, Zahlten opens new paths for uncovering similar broad processes in other large media societies.

    A Study of the Weatherhead East Asian Institute, Columbia University

    About The Author(s)

    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.
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