Reorienting Ozu : A Master and His Influence
- Submitting institution
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King's College London
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 147053491
- Type
- B - Edited book
- DOI
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10.1093/oso/9780190254971.001.0001
- Publisher
- Oxford Univerity Press; Oxford
- ISBN
- 9780190254971
- Open access status
- -
- Month of publication
- December
- Year of publication
- 2017
- URL
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- 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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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This is a ground-breaking edited volume for which I worked as the sole editor and contributed the full-length introduction as well as a chapter as the single author. The volume consists of 15 essays, 13 of which were newly written for the volume, across three sections that are guided by theoretical, historical and cultural discourse on the Japanese director Ozu and his film aesthetics. This is one of the key edited volumes that appeared since the publication of monographs on the director in English in the 1980s. My introduction to the volume is a significant intervention in the field, redirecting the discussion of his work which had often been filtered through the dominant methodologies in the discipline to be more comparative; instead of merely tracing and presenting the existing scholarship, and approaches taken, on the director, the introduction attempts to forge a fruitful conversation among them, reconciling the apparent conflicts in their methodologies in concluding the degrees of cultural specificity manifest in the directors’ aesthetics. The anonymous reviewer praised the introduction as much as other chapters in the volume. The chapter I contributed as the sole author, further integrates the concept of ‘influence’, which has been either taken for granted or quickly dismissed as a critical category to establish the genealogy between Ozu and other directors who pay their homage to him. I had closely worked with each author/contributor and provided extensive copy-editing and suggestions to ensure not only the theorical and conceptual rigor and coherence of their chapters adequately informed by the historical specificity and context of the films in question, but for their originality which were appreciated by contributors.
- Author contribution statement
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- Non-English
- No
- English abstract
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