Zobrazeno 1 - 10
of 54
pro vyhledávání: '"Daisuke Miyao"'
Autor:
Daisuke Miyao
Publikováno v:
Mise au Point, Vol 9 (2017)
In this essay, I consider Oshima Nagisa’s unmade film, Hollywood Zen, to be his historical project. Throughout his career as a filmmaker, Oshima kept questioning the modernized feudal patriarchy of the emperor system after the Meiji Restoration tha
Externí odkaz:
https://doaj.org/article/aa7c93f6c3504c58abb20d177f96a3b0
Autor:
Daisuke Miyao
Publikováno v:
Arts, Vol 8, Iss 2, p 42 (2019)
In the early 1940s Japan, cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. The status of cinematographers as the authors of the images that they shot was particularly ques
Externí odkaz:
https://doaj.org/article/db2cc443a58640f39dac6d01bd61fbe7
Transnational Cinematography Studies introduces new perspectives to the discipline of film and media studies. First, this volume focuses on a crucial yet largely unexplored area in film and media studies: the substantial communication between critica
Autor:
Daisuke Miyao
Publikováno v:
Journal of Japonisme. 8:1-30
Between 1906 and 1911, Auguste Rodin sculpted more than fifty heads, masks, and busts of the Japanese actress Hanako. It was the largest number of portraits that he did with a single model. This essay explores the question why Rodin was so attracted
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::0fd5da0ad1397433706ec26a0ad83c6d
https://doi.org/10.1163/24054992-08010002
https://doi.org/10.1163/24054992-08010002
Autor:
Daisuke Miyao
Publikováno v:
Reception: Texts, Readers, Audiences, History. 14:42-60
A discernible identity of the Japanese American film audience coalesced at a pivotal moment in the history of Japanese immigrants in the United States. That audience formed amidst a discrete event in early American cinema, the release of Cecil B. DeM
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::a7da594689e1e20262954fff63255d34
https://doi.org/10.5325/reception.14.1.0042
https://doi.org/10.5325/reception.14.1.0042
Autor:
Daisuke Miyao
Publikováno v:
Japanese Studies. :1-3
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::ab5d378d4c0ac9e54038e981c4e5411f
https://doi.org/10.1080/10371397.2022.2141215
https://doi.org/10.1080/10371397.2022.2141215
Autor:
Daisuke Miyao
Publikováno v:
A Companion to Japanese Cinema. :90-105
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::a60343ca647be380e2806a4f967b5aa9
https://doi.org/10.1002/9781118955352.ch4
https://doi.org/10.1002/9781118955352.ch4
Autor:
Daisuke Miyao
Publikováno v:
Journal of Japanese and Korean Cinema. 13:58-79
The Japanese filmmaker Ozu Yasujirō openly expressed his disgust for melodrama in a December 1952 interview. And yet, curiously, he said Tokyo Story (Tokyo monogatari), which was released only a ye...
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::67f2999537b5febe89742171ef637e19
https://doi.org/10.1080/17564905.2021.1906501
https://doi.org/10.1080/17564905.2021.1906501
Autor:
Daisuke Miyao
Publikováno v:
Capture Japan ISBN: 9781350186798
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::81040813189d342cab37c00c61b586bf
https://doi.org/10.5040/9781350186811.0011
https://doi.org/10.5040/9781350186811.0011