Access the full text.
Sign up today, get DeepDyve free for 14 days.
J. Krummel (2012)
Basho, World, and Dialectics: An Introduction to the Philosophy of Nishida Kitarō
(1972)
Kik e no chsen: ‘Basho’ kara ‘hataraki’ e” (“A Challenge to Structure: From ‘Place’ to ‘Activity
(1994)
Cinema/Nihilism/Freedom.” In The Japan/America Film Wars: WWII Propaganda and Its Cultural Contexts, edited by Abé Mark Nornes and Fukushima Yukio
Ken Kawashima, F. Schaefer, R. Stolz (2013)
Tosaka Jun: A Critical Reader
(1965)
Mirukoto’ no imi” (“The Meaning of ‘Seeing
(2010)
Nihon ni eiga riron wa atta ka” (“Does Film Theory Exist in Japan?”)
(1965)
Basho” (“Place”)
(1964)
Eiga no motsu bunp” (“The Grammar of Film”)
A. Kitada, Alexander Zahlten (2017)
An Assault on “Meaning”: On Nakai Masakazu’s Concept of “Mediation”
Theodor Adorno (1951)
Minima Moralia: Reflections on a Damaged Life
(2012)
The Standpoint of Active Intuition.
(2011)
Tanabe Hajime’s Logic of Species and the Philosophy of Nishida Kitar: A Critical Dialogue within the Kyoto School.
Naoki Sakai, M. Morris (1999)
Translation and Subjectivity: On Japan and cultural nationalismThe Journal of Asian Studies, 58
(2003)
The Last Stand of Theory.
(1942)
Eiga, geijutsu, keisei (Film, Art, Formation). Kyoto: Kyoiku Tosho
Barbara Cassin, Christian Rendall, Michael Syrotinski, J. Apter, Michael Wood. (2014)
Dictionary of Untranslatables
(1971)
Eigateki hygen ni tsuite: katei eizron” (“On Cinematic Expression: A Process Theory of Cinematic Images”)
(1998)
Eiga mans.
Eyal Clyne (2018)
Anti-crisisOrientalism, Zionism and Academic Practice
L. Pincus (2002)
A Salon for the Soul: Nakai Masakazu and the Hiroshima Culture Movementpositions: east asia cultures critique, 10
(1993)
System of Transcendental Idealism. Translated by Peter Heath
(1964)
Bigaku nymon” (“Introduction to Aesthetics”)
Timothy Corrigan, S. Cavell (1971)
The World Viewed: Reflections on the Ontology of Film, Enlarged Edition
James Heisig, T. Kasulis, John Maraldo (2011)
Japanese Philosophy: A Sourcebook
F. Casetti (2008)
Eye of the Century: Film, Experience, Modernity
D. Keene (2010)
Japanese aesthetics
(1998)
Nihon romanha hihan josetsu (An Introduction to the Criticism of the Japanse Romantics). Tokyo: Kdansha
T. Campbell (2011)
Divisions of the Proper
(2013)
Film as the Reproduction of the Present: Custom and the Masses.
T. Campbell (2011)
Improper Life: Technology and Biopolitics from Heidegger to Agamben
(2000)
Nakai Masakazu to sono jidai (Nakai Masakazu and His Age)
丸山 真男, I. Morris (1964)
Thought and behaviour in modern Japanese politicsThe American Historical Review, 69
(1964)
Kaisetsu” (“Commentary”)
(2010)
Film Theory and the Crisis in Contemporary Aesthetics.
(1969)
Theory and Psychology of Ultranationalism.
Abé Nornes (2003)
Japanese Documentary Film: The Meiji Era Through Hiroshima
(2009)
Abel Ferrara
Richard Calichman, 江原 由美子, 姜 尚中, 柄谷 行人, 西谷 修, 酒井 直樹, 高橋 哲哉, 上野 千鶴子, 鵜飼 哲 (2005)
Contemporary Japanese thought
(2002)
Zoho Nakai Masakazu: Atarashii ‘bigaku
Carl Schmitt, G. Mcaleer (2017)
The Structure of the Romantic Spirit
(1965)
Iinkai no ronri” (“Logic of the Committee”)
(2001)
Eiga no chirigaku” (“Geography of Cinema”)
(2010)
Sens no tsuite.” (“On War”)
(1964)
zensh, edited by Kuno Osamu
(1963)
Tanabe Hajime zensh
T. Lamarre (2005)
Shadows on the Screen: Tanizaki Jun'ichiro on Cinema and "Oriental" Aesthetics
(2005)
Cinematic Shock and the Collapse of Geopolitical Distance.
(1964)
Subjekt no mondai” (“The Problem of the Subject”)
(1965)
Shisteki kiki ni okeru geijutsu narabi ni sono dk” (“Arts and Artistic Tendencies in a Time of Philosophical Crisis”)
A. Azoulay, R. Mazali, Ruvik Danieli (2021)
The Civil Contract of Photography
(2004)
Nihon eiga to nashonarizumu. (Japanese Cinema and Nationalism). Tokyo: Shinwasha
Daniel Fairfax (2013)
Late Godard and the Possibilities of CinemaFilm Criticism, 38
(1965)
Kontinuiti no ronrisei” (“The Logic of Continuity”)
M. Inwood (2018)
HegelOntological Arguments
K. Nishida (2012)
Ontology of Production: Three Essays
J. Krummel, S. Nagatomo (2012)
Place and Dialectic: Two Essays by Nishida Kitaro
(1992)
Parmenides. Translated by Andre Schuwer and Richard Rojcewicz
Michael Shull (2004)
The Imperial Screen: Japanese Film Culture in the Fifteen Years' War, 1931-1945 (review)Film & History: An Interdisciplinary Journal of Film and Television Studies, 34
(1946)
Eiga no kkan” (“Cinematic Space”)
(1964)
Butsuriteki shdanteki seikaku” (“Physical, Collective Character”)
(2008)
Subject and/or Shutai: The Inscription of Cultural Difference.
George Wilson, J. Koschmann (1996)
Revolution and subjectivity in postwar Japan
(2006)
Nakai Masakazu no eiga ron” (“On the Film Theory of Nakai Masakazu”)
(1981)
Dai ichi no nami kara tsugi no nami e.” (“From the First Wave to the Next Wave”)
(1946)
Senso sekininsha no mondai” (“The Problem of Who Is Responsible for the War”)
(1964)
Utsusu” (“Projection”)
(2019)
7. Time, Everydayness, and the Specter of Fascism: Tosaka Jun and Philosophy’s New VocationUneven Moments
(2004)
Eiga to ‘ daitoakyeiken
(1941)
Rekishiteki keisei say to shite no geijutsuteki ssaku” (“Artistic Creation as an Effect of Historical Formation”)
Bret Davis, Brian Schroeder, J. Wirth (2011)
Japanese and Continental Philosophy
(1962)
Sengo kara no hyka.”(A Postwar Evaluation) In Bi to shudan no ronri (Beauty and the Logic of the Collective), edited by Kun Osamu
T. Odagiri (2012)
On Nishida's Rationality ThesisPhilosophy East and West, 62
(1981)
Kaiko jnen.: omoiizuru mamani” (“Thoughts on the last ten years: as I remember them”)
D. Rodowi̇ck (2007)
An Elegy for TheoryOctober
(1972)
Minzoku no kekkan”(Veins of the Nation”)
Satō Dōshin (2019)
Overcoming ModernityEast Asian Art History in a Transnational Context
Gilberto Pérez (1997)
The Material Ghost: Films and Their Medium
William Haver (1997)
The Body of This Death: Historicity and Sociality in the Time of AIDS
A. Moore (2009)
Para-existential Forces of Invention: Nakai Masakazu's Theory of Technology and Critique of Capitalismpositions: east asia cultures critique, 17
Hajime Tanabe (2018)
Clarifying the Meaning of the Logic of Species (1, 4)
In 1950 Nakai Masakazu, the vice librarian of Japan’s new National Diet Library, and philosopher trained in aesthetics at Kyoto Imperial University, published an essay on cinema and contemporary aesthetics. He saw the developments of the past half century as a massive uprooting of the enlightenment project. Rethinking responsibility was paramount. Where a ground was once provided by the reason of a detached observer, this individual had vanished, undermining the dominant assumptions of aesthetics. Because it corresponded with this unmoored world, cinema offered a place to think this crisis. Unfortunately, many critics failed to grasp the dilemmas of the present conditions insofar as they turned away from cinema and its role in constituting the present. Critical writings on art tended to adhere to a modern imagination privileging autonomy: an observer and a discrete work, as with literature, or painting. At the same time, broader philosophical debates in Japan—rooted in a theory of place and opening up to the topics of specificity and mediation—had moved beyond this anthropocentric imaginary. Nonetheless, these debates were caught in an aporia, oscillating between the immediately political (national/imperial) and the distantly metaphysical. Without examining the mediating place of cinema, Nakai asserted, thought will be subject to the further crises. What becomes clear in reading Nakai today is that the place of cinema in Japan remains unthought in its fullest sense—historically, ontologically, and ethically. In this article, the author’s aim is to consider Nakai’s writings—in tandem with a broader set of writings in philosophy and film theory—to rethink the place of cinema as it touches on these dimensions. Nakai’s emphasis on cinema is illuminating insofar as it deviates from literature as the conventional basis for thinking the relationship of art to politics in Japan. Additionally, his writings address questions of medium specificity and spectatorship in film studies from a distinct angle. They allow us to rethink the conditions of responsibility for spectators against determinist readings that stem from structuralism, and against the return to autonomy through recourse to the historical context of modernity. The place of cinema must be one in which these can be thought together as an active enmeshing of the spectator and the world through the action of the lens. For Nakai, cinema constitutes not merely an object of thought but a ground for thinking. Only from such a place can we imagine true responsibility.
positions – Duke University Press
Published: Aug 1, 2018
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.