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THIRTEEN Women and War: The Japanese Film Image William B. Hauser Although feature films dealing with war, either as conscious wartime propaganda or as postwar efforts at apology or rationalization, have ob- vious consequences for men, they communicate to and about women as well. War films, as both official and unofficial statements about society at war, include important messages not merely on military service, patriotism, and nationalism, but also on women, the family, and the special roles that women must play to hold a culture together during the turmoil of

Japanese Film Theory and Realism in a Global Frame
Articulations of Cinema, Nation, and Spectatorship, 1895-1925
A Critical Anthology

Dialectics without Synthesis The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Eric Papenfuse and Catherine Lawrence Endowment Fund in Film and Media Studies. UNIVERSIT Y OF CALIFORNIA PRESS Dialectics without Synthesis Japanese Film Theory and Realism in a Global Frame Naoki Yamamoto University of California Press Oakland, California © 2020 by Naoki Yamamoto Library of Congress Cataloging-in-Publication Data Names: Yamamoto, Naoki, 1977- author. Title: Dialectics without synthesis

to achieve. Key to under- standing the cultural politics of Korean-Japanese film exchange was the heated and protracted controversy surrounding the concept of “Japanese color” (waesaek in Korean), the perceived threat of the encroachment of Japanese popular cul- ture into South Korean society, that persisted throughout the 1960s. The increas- ing cultural visibility of Japan gave rise to this defensive discourse, which tied directly into South Korea’s troubled relationship with its colonial legacy. Further, the repression of postcolonial reflection on


's Factory Work Under State Management in Japan in the 1930s and 1940s Yoshiko Miyake I 267 13. Women and War: The Japanese Film Image William B. Mauser I 296 Afterword Jane Caplan I 315 Glossary / 323 Contributors / 325 Index / 329

: Indiana University Press, 1992. Anderson, Joseph L., and Donald Richie. The Japanese Film: Art and Industry. Expanded ed. Princeton, NJ: Princeton University Press, 1982. Bauman, Zygmunt. Liquid Modernity. Cambridge, U.K.: Polity Press, 2000. Bean, Jennifer M., and Diane Negra, eds. A Feminist Reader in Early Cinema. Durham, NC: Duke University Press, 2002. Berman, Art. Preface to Modernism. Urbana: University of Illinois Press, 1994. Berman, Marshall. All That Is Solid Melts into Air: The Experience of Moder- nity. New York: Simon and Schuster, 1982. Bernardi, Joanne

the historian Chiba Nobuo has, as the first one “to light the signal fire for pure film dramas.”1 Like many other Japanese intellectuals, Gonda was highly dissatisfied with the Japanese film product, commenting, “Be it the photography, or the dramatic construction, or the use of props, Japanese films are still utterly incapable of being equal to foreign pictures” (Prin- ciples, 386). Gonda was also a strong influence, Chiba argues, on the main organ for the Pure Film Movement, Kinema Record.2 Arguments that fundamentally supported the position of the Pure Film