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Making IconsRepetition and the Female Image in Japanese Cinema, 1945-1964$
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Jennifer Coates

Print publication date: 2017

Print ISBN-13: 9789888208999

Published to Hong Kong Scholarship Online: May 2017

DOI: 10.5790/hongkong/9789888208999.001.0001

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PRINTED FROM HONG KONG SCHOLARSHIP ONLINE (www.hongkong.universitypressscholarship.com). (c) Copyright Hong Kong University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in HKSO for personal use (for details see http://www.hongkong.universitypressscholarship.com/page/privacy-policy).date: 23 October 2017

Introduction

Introduction

Chapter:
(p.1) Introduction
Source:
Making Icons
Author(s):

Jennifer Coates

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789888208999.003.0001

The introduction describes the historical contexts and theoretical framework of the book, beginning with an outline of the method of research. A brief literature review of affect theory in the Japanese context is followed by an introduction to Yoshimoto Takaaki’s Communal Fantasies (Kyōdōgensō ron, 1968). Giles Deleuze’s Difference and Repetition (1968) is juxtaposed with Yoshimoto’s philosophical investigation of repeated tropes in Japanese cultural production to form a theoretical framework for the analysis of selected repeated motifs in female cinematic representation that follows. Social changes during the occupation of Japan (1945-1952), particularly as regards roles and rights for women, are presented as key socio-political and historical contexts for the analyses of popular film texts which follow. The chapter concludes with a sample case study analysis of Mizoguchi Kenji’s Five Women Around Utamaro (1946).

Keywords:   Post-war, history, affect, communal fantasies, Mizoguchi Kenji

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