By Eric Cazdyn
Cazdyn makes a speciality of 3 key moments of ancient contradiction: colonialism, post-war reconstruction, and globalization. contemplating nice classics of eastern movie, documentaries, works of technology fiction, animation, and pornography, he brings to gentle cinematic makes an attempt to return to phrases with the tensions inherent in every one historic moment—tensions among the colonizer and the colonized, among the person and the collective, and among the nationwide and the transnational. Paying shut awareness to political context, Cazdyn indicates how formal innovations within the nation-states of performing, movie heritage and conception, thematics, documentary filmmaking, and version articulate a fight to resolve implacable ancient difficulties. This leading edge paintings of cultural background and feedback deals causes of old switch that problem traditional differences among the cultured and the geopolitical.
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Additional info for The Flash of Capital: Film and Geopolitics in Japan
Sample text
After delineating short histories of both Japanese film and capitalism, I foreground continuity, discontinuity, and crisis as the key concepts to make sense of each history’s transformations. Then, to elaborate the issue 28 The Flash of Capital of perception and how economic forms insinuate themselves in consciousness and the body, the three stories with which this chapter began (Danjuro, Nizaemon, Aum) are linked to the transformations of the money form over the past hundred years. Two Histories Let us begin with a thumbnail sketch of Japanese capitalist history.
Structuralism’s intervention (from its linguistic genesis to its Marxist and poststructuralist inflections) was—and still is—crucial. ) to the more political exploration of function and logic (How does it work? ). Oddly enough this de-emphasis on historical continuity is precisely an attempt to return history to the discussion. One must always historicize because even though two elements at two different moments or in two different places might look the same (film styles, subjectivities, financial 36 The Flash of Capital crises), the different geo-historical situations in which they dwell position their meanings and effects in radically different ways.
37 The transformation from the benshi to the full-fledged talkie, for example, was caused not only by ideological necessities of the colonial project (to mass-produce an ideological statement to be simultaneously and identically screened throughout the nation without benshi interference). It was also caused by the need to estrange spectators’ perceptual habits at a moment in which the same story—told in the same way—was quickly losing its force. The talkie, therefore, turned out to be just as much the effect of crisis as the cause.