He argues that lighting technology in cinema had been structured by the conflicts of modernity in Japan, including capitalist transitions in the film industry, the articulation of Japanese cultural and national identity, and increased subjectivity for individuals. By focusing on the understudied element of film lighting and treating cinematographers and lighting designers as essential collaborators in moviemaking, Miyao offers a rereading of Japanese film history.
Toon meer Toon minder. Recensie s The Aesthetics of Shadow is an important contribution to the scholarship on cinema and modernity in Japan Anyone with a basic knowledge of Japanese film history will find the book accessible, but specialists in particular will welcome this study as an important and comprehensive new reference, especially as it pertains to Shochiku and Toho.
The work articulates such a detailed understanding of cinematography and lighting practices that it would also be of great interest to cinematographers and related film practitioners.
Daisuke Miyao's The Aesthetics of Shadow: Lighting and Japanese Cinema isn't only an exception to these rules, but establishes a benchmark for which contemporary film-history research should aim Many people have written on the aesthetic transformations of Japanese film in the first half of the twentieth century, but no one has done it with such close attention to the material basis of cinema. It is a refreshingly new approach to Japanese history.
Daisuke Miyao delivers a lively and fascinating account of cinematography in the first half century of Japanese cinema. Daisuke Miyao's innovative approach opens up the field beyond the usual focus on genre, stars, and key authors. It will serve as an example for the writing of histories outside of Japanese cinema.
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The Aesthetics of Shadow: Lighting and Japanese Cinema
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