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Film and Fashion in Japan, 1923-39 examines the interaction between the audience member and Japan's film and fashion industries, focusing on Western-inspired fashion objects as opposed to indigenous Japanese items. Taking an interdisciplinary approach, Barnett examines the semiotics of dress onscreen within Japan’s transcultural media climate, consulting not only film- or fashion-related theoretical bases but also historical and gender-based approaches.The work consults surviving films, print media and advertising materials, allowing insights into lost films and the period's thriving commercial context. It focuses on the expressive Modern Girl image (the Japanese equivalent of the Hollywood flapper); sportswear and hybridised dress styles (which combined Japanese and Western-influenced aesthetics) and their relationship with body; and menswear in the early work of the director Ozu Yasujirō. This book discusses the role of fashion consumption in defining emergent modern identities and their relationships with new spaces, questioning their arising in the Japanese context and within the global sphere.

Fashion --- Fashion in motion pictures. --- Motion picture audiences --- Motion picture industry --- Fashion. --- Fashion in motion pictures. --- Motion picture audiences. --- Motion picture industry. --- History --- History --- History --- 1900-1999 --- Japan.

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Abject Pleasures in the Cinematic examines the cinematic strategies that elicit visceral pleasure—tears, goosebumps, sexual arousal, laughter—even in the face of content that is crass, politically problematic, or unethical.While there might be a progressive predisposition within our discipline, affect pledges no allegiance to any particular political inclination. Progressives, or progressive content, does not hold a monopoly on affect. The beautiful has no inherent bond to the good (i.e., morally good, or having cultural merit), rather it is an affective experience, and it might come to us in the most unlikely and unsavory places. Pornography, even with the most regressive content, wields the possibility to be sexually arousing even despite our own ethical objections. While well-intended academics routinely claim that watching people get hurt is not funny, and we might appreciate the gesture to cultivate our better angels, but such assertions do not necessarily align with our lived-experience.

Motion picture audiences --- Pleasure --- Laughter --- Motion pictures --- Psychology. --- Psychological aspects. --- Psychological aspects. --- Aesthetics

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Examines Western-inspired fashion objects in Japanese cinema between 1923 and 1939Consults varied primary Japanese-language source material, such as visual analysis of extant films; film fragments and stills from the era; advertising ephemera such as film posters and match boxes; and various print-based materialsProvides film analysis and synopses of many Japanese films which are not yet commercially available and/or subtitled in EnglishConcentrates equally on depictions of menswear and womenswear - there is currently a bias towards depictions of women's styles in both fashion and film studiesDiscusses the history of issues highly relevant to today's media climate in a non-American and non-European contextPresents fashion as a means of coding identities both on- and off-screen - case studies include the Modern Girl (the Japanese variant of the Hollywood flapper), the Modern Boy (a foppish masculine archetype), the modernising Japanese housewife and the healthy sportsperson.Discusses LGBT identities and the usage of fashion to depict them in both Japanese and Hollywood cinemasFilm and Fashion in Japan, 1923-39 examines the interaction between the audience member and Japan's film and fashion industries, focusing on Western-inspired fashion objects as opposed to indigenous Japanese items. Taking an interdisciplinary approach, Barnett examines the semiotics of dress onscreen within Japan's transcultural media climate, consulting not only film- or fashion-related theoretical bases but also historical and gender-based approaches.The work consults surviving films, print media and advertising materials, allowing insights into lost films and the period's thriving commercial context. It focuses on the expressive Modern Girl image (the Japanese equivalent of the Hollywood flapper); sportswear and hybridised dress styles (which combined Japanese and Western-influenced aesthetics) and their relationship with body; and menswear in the early work of the director Ozu Yasujirō. This book discusses the role of fashion consumption in defining emergent modern identities and their relationships with new spaces, questioning their arising in the Japanese context and within the global sphere.

Fashion in motion pictures. --- Fashion --- Motion picture audiences --- Motion picture industry --- History

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Abject Pleasures in the Cinematic examines the cinematic strategies that elicit visceral pleasure - tears, goosebumps, sexual arousal, laughter-even in the face of content that is crass, politically problematic, or unethical.

While there might be a progressive predisposition within our discipline, affect pledges no allegiance to any particular political inclination. Progressives, or progressive content, does not hold a monopoly on affect. The beautiful has no inherent bond to the good (i.e., morally good, or having cultural merit), rather it is an affective experience, and it might come to us in the most unlikely and unsavory places. Pornography, even with the most regressive content, wields the possibility to be sexually arousing even despite our own ethical objections. While well-intended academics routinely claim that watching people get hurt is not funny, and we might appreciate the gesture to cultivate our better angels, but such assertions do not necessarily align with our lived-experience.

Aesthetics in motion pictures. --- Laughter --- Motion picture audiences --- Pleasure --- Psychological aspects. --- Psychology. --- Literature --- PERFORMING ARTS / Film & Video / Direction & Production. --- Sense and sensation in motion pictures. --- Motion pictures

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Entre 1946 et 1967, la rubrique hebdomadaire de courriers des lecteurs du magazine Cinémonde est le lieu d'expression d'un lectorat jeune, populaire et majoritairement féminin qui utilise le cinéma pour discuter de ses goûts et de ses aspirations. Le cinéma en France après la Libération devient le loisir favori de la jeunesse populaire, et les magazines spécialisés, comme Cinémonde, le plus diffusé d'entre eux, proposent un courrier des lecteurs et lectrices qui, au-delà de sa fonction de fidélisation, construit au cours des années 1950 une communauté de fans cimentée par le goût des acteurs et actrices et l'amour des films comme leçons de vie. Cet ouvrage propose une exploration sur 20 ans de la rubrique hebdomadaire de Cinémonde, intitulée " Potinons ", son évolution au cours de ces deux décennies, sa composition sociologique et genrée, le parcours de quelques " potineuses " et " potineurs ", une analyse des préférences cinéphiliques des courriéristes, très majoritairement féminines, et la réception de quelques films français et hollywoodiens des années 1950 qui ont fait date pour ce public jeune et populaire, et enfin la rencontre avec la Nouvelle Vague au tournant des années 1960.Cette rubrique se révèle en particulier une source sans équivalent pour documenter des formes de cinéphilie féminine et leurs spécificités par rapport à la cinéphilie dominante, quasi exclusivement masculine à l'époque.

Cinéma français --- Presse spécialisée --- Histoire. --- Cinémonde (périodique) --- Cinéma --- Cinéma et femmes --- Féminisme et cinéma --- Cinéphiles --- Presse et cinéma --- Publics --- Cinémonde (périodique). --- Motion pictures and women --- Feminism and motion pictures --- Motion picture audiences --- Journalism and motion pictures --- Motion pictures --- History --- Attitudes. --- Periodicals --- 050 <44> --- 791.44 <44> --- 050 <44> Tijdschriften. Periodieken. Serials--(werken over)--Frankrijk --- Tijdschriften. Periodieken. Serials--(werken over)--Frankrijk --- 791.44 <44> Filmproductie. Filmindustrie--Frankrijk --- Filmproductie. Filmindustrie--Frankrijk