Tanaka Kinuyo : nation, stardom and female subjectivity
- Submitting institution
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Kingston University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33-19-1795
- Type
- B - Edited book
- DOI
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10.3366/edinburgh/9781474409698.003.0005
- Publisher
- Edinburgh University Press
- ISBN
- 9781474409698
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2018
- URL
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https://doi.org/10.3366/edinburgh/9781474409698.003.0005
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This is the first book in English dedicated to actress and director Tanaka Kinuyo. Partially funded by the Sasakawa Foundation, it brings together nine scholars from Japan and Europe. Tanaka is considered one of the greatest actors of the national cinema, often hailed as an epitome of Japanese femininity. Additionally, Tanaka was the only Japanese woman director active in the 1950s and the first to build a substantial filmography. The book analyses her work and her public persona, which embodied conflicting ideas of female subjectivity, national identity, and historical memory. A new approach to theories of stardom and authorship grounded on the relevance of the socioeconomic context of production and reflection offers new perspectives into the study of classical Japanese cinema and the history of Japanese women. With the collaboration of Tanaka Kinuyo Memorial Hall and Japan’s National Film Centre, the book includes hitherto unpublished shooting scripts and materials on Tanaka’s personal life. “Introduction: Onna Monogatari” (co-authored), presents an overview of Tanaka’s life and career against the social history of twentieth-century Japan and women’s movements. It interrogates the concept of female authorship, and the applicability of extant theories to the peculiar case of Tanaka (15,600 words). For the chapter, “The First Female Gaze at Postwar Japanese Women” (co-authored), I received funding from British Association of Japanese Studies and the Japan Foundation Endowment Committee to conduct archival research. The chapter examines the representation of gender in and the reception of Tanaka’s first directed works through primary sources to illuminate the expectations placed on Tanaka and on the figure of ‘woman director’.
- Author contribution statement
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- Non-English
- No
- English abstract
- -
