Isbn: 9781350378568 - japanese cinema and punk: intermedial exchanges (20 risultati)

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Condizione: New. In English.

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Condizione: New.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: New. 2025. hardcover. . . . . .

Hardback. Condizione: New. In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japan's film industry.Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film)tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shin'ya, and Fukui Shozin, Player explores how punk's bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street performance, handmade animation, television, and other mass media. By considering the practical, phenomenological, and political ramifications of combining diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinson's Garden (1987), Tetsuo: The Iron Man (1989), and more. He further traces the changing sociocultural position of Japan's punk generation throughout the 1980s-from its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence.…

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condizione: new. Hardcover. In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japans film industry.Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film)tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shinya, and Fukui Shozin, Player explores how punks bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street performance, handmade animation, television, and other mass media. By considering the practical, phenomenological, and political ramifications of combining diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinsons Garden (1987), Tetsuo: The Iron Man (1989), and more. He further traces the changing sociocultural position of Japans punk generation throughout the 1980sfrom its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

hardcover. Condizione: New.

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Condizione: New. 2025. hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condizione: Brand New. 272 pages. 9.22x6.14x1.00 inches. In Stock.

Condizione: New.

Buch. Condizione: Neu. Neuware - In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japan's film industry.Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film)tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shin'ya, and Fukui Shozin, Player explores how punk's bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street performance, handmade animation, television, and other mass media. By considering the practical, phenomenological, and political ramifications of combining diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinson's Garden (1987), Tetsuo: The Iron Man (1989), and more. He further traces the changing sociocultural position of Japan's punk generation throughout the 1980s-from its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence.…

Hardback. Condizione: New. In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japan's film industry.Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film)tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shin'ya, and Fukui Shozin, Player explores how punk's bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street performance, handmade animation, television, and other mass media. By considering the practical, phenomenological, and political ramifications of combining diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinson's Garden (1987), Tetsuo: The Iron Man (1989), and more. He further traces the changing sociocultural position of Japan's punk generation throughout the 1980s-from its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence.…

Hardcover. Condizione: new. Hardcover. In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japans film industry.Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film)tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shinya, and Fukui Shozin, Player explores how punks bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street performance, handmade animation, television, and other mass media. By considering the practical, phenomenological, and political ramifications of combining diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinsons Garden (1987), Tetsuo: The Iron Man (1989), and more. He further traces the changing sociocultural position of Japans punk generation throughout the 1980sfrom its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardcover. Condizione: new. Hardcover. In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japans film industry.Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film)tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shinya, and Fukui Shozin, Player explores how punks bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street performance, handmade animation, television, and other mass media. By considering the practical, phenomenological, and political ramifications of combining diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinsons Garden (1987), Tetsuo: The Iron Man (1989), and more. He further traces the changing sociocultural position of Japans punk generation throughout the 1980sfrom its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…