"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
"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
"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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