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(1995)
On shima's use of still shots as auteurist assertion, see Catherine Russell
Shigenori Matsui, L. Beer (1986)
Freedom of Expression in Japan: A Study in Comparative Law, Politics, and SocietyThe Journal of Asian Studies, 46
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Yojhan fusuma no shitabari,” in Naze “Yojhan fusuma no shitabari” wa meisaku ka (Why Is “Underneath the Papering of the Four- and
(1975)
Yojhan fusuma no urabari
Kirsten Cather (2012)
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L. Williams (1989)
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J. Gladden (1981)
Movies and RealityJournalism & Mass Communication Educator, 36
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“A Conversation between Kumashiro Tatsumi and Sait Masaharu
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dir., Yojohan fusuma no urabari / The World of Geisha (Tokyo: Nikkatsu
(1973)
Itan” (“Heresy”) Gunz (Art
New View of Porn
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This version appears as an acknowledged work in Kaf zensh
Karen Beckman, Jean Ma, Tom Gunning, T. Corrigan (2008)
Still moving : between cinema and photography
66 -67, respectively; Origuchi Akira
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R. Barthes (1980)
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Underneath the Papering of the Four-and-a-Half-Mat Room" a Famed Work?)
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“Debates over Kumashiro Tatsumi”)
115 and statements made by Nishimura Shgor, the director of the first Nikkatsu Roman Porno
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Art director Kikukawa Yoshie in Eiga geijutsu tokush: Nikkatsu roman poruno 30-nen no kb dai-nisen (Film Art Special Edition: Nikkatsu Roman Porno's Biggest Battles over a Thirty-Year Period
(1983)
Downhearted, Dejected and Pained, Constantly and Intimately"), in Kumashiro Tatsumi orijinaru shinariosh
R. Maltby (1992)
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M. Dumont (1970)
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Kusano Shob, 1948), 18
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Flesh Makes the Man"), in Nikutai no bungaku (Literature of the Flesh) (Tokyo: Kusano Shob, 1948), 18. See also Douglas Slaymaker, The Body in Postwar Fiction: Japanese Fiction after the War
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Shinsei ropponika no toppu battā Kumashiro Tatsumi kantoku ni kiku” (A Talk with Shinsei Ropponika’s Top Batter Kumashiro Tatsumi)
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Kamilla Elliott (2003)
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D. Sutton (2009)
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Eirin had hastily revised and tightened up their regulations on sexual depictions during the Nikkatsu investigation
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Kumashiro, dir., DVD front cover
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Francis Couvares (1996)
Movie censorship and American culture
This article considers the 1973 Nikkatsu Roman Porn film adaptation of a short story by Japanese literary giant Nagai Kafū, “Underneath the Papering of the Four-and-a-Half-Mat Room” (“Yojōhan fusuma no urabari”). This low-budget erotic film appeared in the international context of the “liberation” (or decriminalization) of pornography that had swept Europe by the early to mid-1970s and in the domestic context of a severe crackdown on such trends. At the time of the film's release, both the story and the studio were at the center of high-profile obscenity trials in Japan. In this essay, I examine how and why these contexts led the filmmaker to take considerable liberties in adapting the story, in particular its conspicuous incorporation of archival photographs that document the rise of Japanese militarism in the mid- to late Taishō period (1912–26). I argue that the insistent injection of such politically and formally radical content strove to legitimize the film and, by implication, also its source text, as politically and aesthetically defensible in both legal and artistic circles. But because the film had to function in its generic context as well, as a studio-branded “porno,” I insist also on considering the pornographic efficacy of such a strategy. I ask: What is the effect of injecting stilled historical images into a genre famous instead for its lush color moving ones? What can such a strategy tell us about postwar historical memory, the relationship of politics to pornography and of still photographs to moving film images, and the nature of film adaptations and their literary source texts? This film offers an extreme-limit case that brings to the fore the tensions between economic and generic demands on the one hand, and juridic, aesthetic, and auteurist imperatives, on the other, that are inherent in any film production.
positions asia critique – Duke University Press
Published: Oct 2, 2014
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