Document Type
Book Chapter
Publication Date
2012
Published In
Oxford Handbook Of Global Modernisms
Abstract
This article notes that Kitagawa Fuyuhiko's writings from the 1920s and 1930s, together with the contemporaneous works of prose author Yokomitsu Riichi, are strongly marked by the confluence of the literary and the cinematic. Kitagawa and Yokomitsu's engagement with film was not limited to a fascination with the precision, objectivity, or mobility of the “camera eye.” Rather, it extended to the entire ability of the cinematic apparatus to capture the temporality of objects in motion, and of the ability of the filmmaker to organize segments of space into a new synthetic whole. The article explores this confluence through a brief examination of four instances of “cine-text”: Kitagawa' poetry collection War, Yokomitsu' novel Shanghai, the concept of literary formalism Yokomitsu proposed around the year 1930, and the theory of the “prose film” that Kitagawa unveiled in the following decade.
Keywords
film camera, camera eye, film editing, literary formalism, pose film, cine-text
Published By
Oxford University Press
Editor(s)
Edited By M. Wollaeger With M. Eatough
Recommended Citation
William O. Gardner.
(2012).
"Japanese Modernism And "Cine-Text": Fragments And Flows At Empire's Edge In Kitagawa Fuyuhiko And Yokomitsu Riichi".
Oxford Handbook Of Global Modernisms.
571-597.
https://works.swarthmore.edu/fac-japanese/14
Comments
This material was originally published in The Oxford Handbook of Global Modernisms edited by Mark Wollaeger and Matt Eatough, and has been reproduced by permission of Oxford University Press. For permission to reuse this material, please visit http://global.oup.com/academic/rights.