“Notes” in “The New Real”
Notes
Introduction
Martin Loiperdinger, “Lumiere’s Arrival of the Train: Cinema’s Founding Myth,” trans. Bernd Elzer, Moving Image 4, no. 1 (July 26, 2004): 89–118.
Joseph L. Anderson and Donald Richie, The Japanese Film: Art and Industry, expanded ed. (Princeton, N.J.: Princeton University Press, 2018), 24; Eric Cazdyn, The Flash of Capital: Film and Geopolitics in Japan (Durham, N.C.: Duke University Press, 2002), 47; Aaron Andrew Gerow, Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895–1925 (Berkeley: University of California Press, 2010), 47; Komatsu Hiroshi, Kigen no eiga: Eigashi no danmenzu (Tokyo: Seidosha, 1991), 12; Tsukada Yoshinobu, Nihon eigashi no kenkyu: Katsudo shashin torai zengo no jijo (Tokyo: Gendai Shokan, 1980), 32. See also Tanaka Jun’ichiro, Nihon eiga hattatsushi (Tokyo: Chūō Kōronsha, 1975); Yoshida Yoshishige, Eiga denrai: Shinematogurafu to Meiji no Nihon (Tokyo: Iwanami Shoten, 1995).
See J. David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, Mass.: MIT Press, 1999).
See Bolter and Grusin, Remediation.
Yuriko Furuhata, Cinema of Actuality: Japanese Avant-Garde Filmmaking in the Season of Image Politics (Durham, N.C.: Duke University Press, 2013), 3.
Dorrit Cohn and Lewis S. Gleich, “Metalepsis and Mise en Abyme,” Narrative 20, no. 1 (2012): 105–14; Lucien Dällenbach, The Mirror in the Text (Chicago: University of Chicago Press, 1989); Michel Foucault, Discourse and Truth and Parrēsia, ed. Henri-Paul Fruchaud, Daniele Lorenzini, and Nancy Luxon (Chicago: University of Chicago Press, 2019); Michel Foucault, This Is Not a Pipe, trans. James Harkness (Berkeley: University of California Press, 1983); Moshe Ron, “The Restricted Abyss: Nine Problems in the Theory of Mise en Abyme,” Poetics Today 8, no. 2 (1987): 417.
David Croteau and William Hoynes, Media/Society: Industries, Images, and Audiences (Thousand Oaks, Calif.: Pine Forge Press, 2000); Dan Laughey, Key Themes in Media Theory (Maidenhead, U.K.: Open University Press, 2010); Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man (Toronto: University of Toronto Press, 2002); Joshua Meyrowitz, No Sense of Place: The Impact of Electronic Media on Social Behavior (Oxford: Oxford University Press, 1985); Werner Wolf, Katharina Bantleon, and Jeff Thoss, eds., Metareference across Media: Theory and Case Studies, Studies in Intermediality 4 (Amsterdam: Rodopi, 2009).
Claude Elwood Shannon and Warren Weaver, The Mathematical Theory of Communication (Urbana: University of Illinois Press, 1998); Norbert Wiener, The Human Use of Human Beings: Cybernetics and Society (New York: Houghton Mifflin, 1950); Norbert Wiener, Cybernetics, or Control and Communication in the Animal and the Machine (Cambridge, Mass.: MIT Press, 2007).
See, for instance, James J. Gibson, The Ecological Approach to Visual Perception (New York: Psychology Press, 2014); John Guillory, “Genesis of the Media Concept,” Critical Inquiry 36 (Winter 2010): 360.
Siegfried Zielinski, Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means (Cambridge, Mass.: MIT Press, 2006).
Thomas Lamarre, The Anime Machine: A Media Theory of Animation (Minneapolis: University of Minnesota Press, 2013).
Neil Postman, Technopoly: The Surrender of Culture to Technology (New York: Vintage, 1993), 18; Wendy Hui Kyong Chun, Updating to Remain the Same: Habitual New Media (Cambridge, Mass.: MIT Press, 2016); Giorgio Agamben, State of Exception (Chicago: University of Chicago Press, 2008).
For a clear summation of this line of inquiry, see Charles Acland, “Introduction: Residual Media,” in Residual Media, ed. Charles R. Acland, xviii–xix (Minneapolis: University of Minnesota Press, 2007).
Marshall McLuhan and Quentin Fiore, The Medium Is the Massage: An Inventory of Effects (Berkeley, Calif.: Gingko Press, 2017).
Mitsuhiro Yoshimoto, “Hollywood, Americanism, and the Imperial Screen: Geopolitics of Image and Discourse after the End of the Cold War,” Inter-Asia Cultural Studies 4, no. 3 (December 2003): 451–59; Mitsuhiro Yoshimoto, “National/International/Transnational: The Concept of Trans-Asian Cinema and the Cultural Politics of Film Criticism,” in Theorising National Cinema, ed. Paul Willemen and Valentina Vitali, 254–61 (London: Bloomsbury Publishing, 2006); Mitsuhiro Yoshimoto, “The Difficulty of Being Radical: The Discipline of Film Studies and the Postcolonial World Order,” boundary 2 18, no. 3 (1991): 242–57; Mitsuhiro Yoshimoto, “The University, Disciplines, National Identity: Why Is There No Film Studies in Japan?” South Atlantic Quarterly 99, no. 4 (October 1, 2000): 697–713.
Michel Foucault, “Of Other Spaces,” trans. Jay Miskowiec, Diacritics 16, no. 1 (1986): 22–27; Ursula Heise, “Unnatural Ecologies: The Metaphor of the Environment in Media Theory,” Configurations 10, no. 1 (Winter 2002): 149–68.
See Jonathan E. Abel and Joseph Jonghyun Jeon, “Unfolding Digital Asias,” Verge: Studies in Global Asias 7, no. 2 (Fall 2021): vi–xxii.
David Morley and Kevin Robins, Spaces of Identity: Global Media, Electronic Landscapes, and Cultural Boundaries (New York: Routledge, 1995); David S. Roh, Betsy Huang, and Greta A. Niu, eds., Techno-Orientalism: Imagining Asia in Speculative Fiction, History, and Media (New Brunswick, N.J.: Rutgers University Press, 2015).
Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization (Minneapolis: University of Minnesota Press, 1996), 35. See also Arjun Appadurai, “Disjuncture and Difference in the Global Cultural Economy,” Public Culture 2, no. 2 (May 1, 1990): 9.
Gerow, Visions of Japanese Modernity, 47.
Steven Feld, “Pygmy POP: A Genealogy of Schizophonic Mimesis,” Yearbook for Traditional Music 28 (1996): 1–35.
Zielinski, Deep Time of the Media; Friedrich A. Kittler, Gramophone, Film, Typewriter (Stanford, Calif.: Stanford University Press, 1999).
1. Welcome to the New Real!
John Guillory, “Genesis of the Media Concept,” Critical Inquiry 36, no. 2 (2010): 357. See also the concept of media as the “middle term” in W. J. T. Mitchell and Mark B. N. Hansen, introduction to Critical Terms for Media Studies, ed. W. J. T. Mitchell and Mark B. N. Hansen (Chicago: University of Chicago Press, 2010), xix.
Guillory, “Genesis of the Media Concept,” 348.
Paul de Man, Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism (Minneapolis: University Minnesota Press, 1971); Kōjin Karatani, “Uses of Aesthetics: After Orientalism,” trans. Sabu Kohso, boundary 2 25, no. 2 (1998): 150; Kōjin Karatani, “The Utility of Aesthetics,” in Nation and Aesthetics: On Kant and Freud (New York: Oxford University Press, 2017), 79–92.
Slavoj Žižek, “Cyberspace, or The Unbearable Closure of Being,” in Endless Night: Cinema and Psychoanalysis, Parallel Histories, ed. Janet Bergstrom, 96–125 (Berkeley: University of California Press, 1999); Slavoj Žižek, The Plague of Fantasies (New York: Verso, 1997); J. G. Ballard, “The Gioconda of the Twilight Noon,” in The Terminal Beach (New York: Penguin Books, 1964), 201. See also Azuma Hiroki’s and Slavoj Žižek’s consideration of “cyberspace” in Takeshi Kadobayashi, “The Media Theory and Media Strategy of Azuma Hiroki,” and Marilyn Ivy, “The InterCommunication Project: Theorizing Media in Japan’s Lost Decades,” in Media Theory in Japan, ed. Marc Steinberg and Alexander Zahlten, 80–100, 101–130 (Durham, N.C.: Duke University Press, 2017).
Slavoj Žižek, The Abyss of Freedom (Ann Arbor: University of Michigan Press, 1997), 63.
Azuma Hiroki, “Saibāsupēsu wa naze supēsu to yobareruka,” InterCommunication 32, no. 9 (2000): 168. All the essays are reprinted as Azuma Hiroki, “Saibāsupēsu wa naze sō yobareruka (1997–2000),” in Society: Jōhō kankyō ronshū—Azuma hiroki korekushon S (Tokyo: Kōdansha, 2007), 207–375.
Following Richard Rorty’s critique of the eyes and mirrors in relation to modern subject formation. Richard Rorty, Philosophy and the Mirror of Nature (Princeton, N.J.: Princeton University Press, 1979).
Bruce Sterling, Mirrorshades: The Cyberpunk Anthology (New York: Ace Books, 1988).
Samuel R. Delany and Takayuki Tatsumi, “Some Real Mothers: . . . The SFEye Interview,” in Silent Interviews: On Language, Race, Sex, Science Fiction, and Some Comics (Middletown, Conn.: Wesleyan University Press, 2012), 171–72; “Some Real Mothers: An Interview,” Science Fiction Eye 3, no. 1 (1988): 8.
Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning, and the New International (New York: Psychology Press, 1994). See also the Marxist response in Michael Sprinker, ed., Ghostly Demarcations: A Symposium on Jacques Derrida’s Spectres of Marx (New York: Verso, 1999).
See Azuma Hiroki, General Will 2.0: Rousseau, Freud, Google, trans. John Person (New York: Vertical, 2014), and Azuma’s blog on the subject of infoliberalism, “Jōhō jiyūron,” Hajou (blog), October 2005, http://www.hajou.org/infoliberalism.
This is the blinder that Karatani and indeed Kant critique.
It is the issue that Marx took up in his work not so much to drop spirit but to ground it in material conditions.
Azuma, Society, 214.
Lev Manovich, “The Labor of Perception,” Manovich, 1995, http://manovich.net/index.php/projects/the-labor-of-perception; Lev Manovich, “The Aesthetics of Virtual Worlds: Report from Los Angeles,” CTheory (November 1995).
It is worth noting that Azuma’s theory predates the widespread use of named social media (web 2.0) platforms such as Facebook and Twitter in Japan. From 1997 to 2000, when Azuma was working on the concept of cyberspace, Japanese internet use was still dominated by largely anonymous bulletin boards and chat rooms.
We could call it a Foucauldian web of power in knowing or a way in which “abstract force” accrues what Brian Massumi calls “ontopower.” And this power is also deeply entangled with both the distributed form of the power of spectacle (Guy Debord) and that of labor exploitation (Marx). See Brian Massumi, Ontopower: War, Powers, and the State of Perception (Durham, N.C.: Duke University Press, 2015).
See Jacques Lacan, The Seminar of Jacques Lacan, book 20, On Feminine Sexuality: The Limits of Love and Knowledge, trans. Bruce Fink (New York: Norton, 1998), 72, 81. See also Jacques Lacan, “Geneva Lecture on the Symptom,” trans. Russell Grigg, Analysis 1 (1989): 7–26.
Saitō Tamaki, Media wa sonzai shinai (Tokyo: NTT Shuppan, 2007), 21–22.
Lev Manovich, The Language of New Media (Cambridge, Mass.: MIT Press, 2002), 25.
Wendy Hui Kyong Chun, Updating to Remain the Same: Habitual New Media (Cambridge, Mass.: MIT Press, 2017), ix.
Wendy Hui Kyong Chun, “Introduction: Race and/as Technology; or, How to Do Things to Race,” Camera Obscura 1, no. 24 (May 2009): 51.
See also Claude Elwood Shannon, Claude E. Shannon: Collected Papers, ed. Ernst Weber and Frederik Nebeker (New York: Wiley, 1993); Claude Elwood Shannon and Warren Weaver, The Mathematical Theory of Communication (Urbana: University of Illinois Press, 1962).
See Samuel Weber’s particularly insightful Mass Mediauras for a summary explication of technê’s relation with skill rather than technology per se. Samuel Weber, Mass Mediauras: Form, Technics, Media (Stanford, Calif.: Stanford University Press, 1996).
See Guillory, “Genesis of the Media Concept.” Also Akira Mizuta Lippit, “Preface (Interface),” in Media Theory in Japan, ed. Marc Steinberg and Alexander Zahlten, xi–xv (Durham, N.C.: Duke University Press, 2017); Seth Jacobowitz, Writing Technology in Meiji Japan: A Media History of Modern Japanese Literature and Visual Culture (Cambridge, Mass.: Harvard University Asia Center, 2020).
See Lippit, “Preface (Interface)”; Marc Steinberg and Alexander Zahlten, introduction to Media Theory in Japan, ed. Marc Steinberg and Alexander Zahlten, 1–32 (Durham, N.C.: Duke University Press, 2017).
See Erich Auerbach, Mimesis: The Representation of Reality in Western Literature (Princeton, N.J.: Princeton University Press, 2013).
Guillory’s account of mimesis and media is a victim of this forgetting of the other potential meanings within mimesis. See also Stephen Halliwell, The Aesthetics of Mimesis: Ancient Texts and Modern Problems (Princeton, N.J.: Princeton University Press, 2002).
Kōjin Karatani, History and Repetition (New York: Columbia University Press, 2012); Fredric Jameson, A Singular Modernity: Essay on the Ontology of the Present (New York: Verso, 2002).
See Atsuko Ueda, Concealment of Politics, Politics of Concealment: The Production of “Literature” in Meiji Japan (Stanford, Calif.: Stanford University Press, 2007).
Takahashi Yoshitaka, “Zeami no ‘monomane’ to Yōroppa-teki mimēshisu,” Kindai geijutsukan no seiritsu (1965): 155–60; Takahashi Yoshitaka, “Zeami no ‘monomane’ to Yōroppa-teki mimēshisu,” in Takahashi Yoshitaka bungei riron chosaku-shūka (Tokyo: Jinbun shoin, 1977), 157–62; Robert G. Sewell, “Mimeshisu to monomane: Arisutoteresu to Zeami no mohō no riron,” trans. Yutaka Maekawa, Hikaku Bungaku Kenkyu 34 (1978): 252–58.
Yamaguchi Masao and Takashina Shūji, “Taidan: ‘Mitate’ to Nihon bunka,” Nihon no bigaku 24 (1996): 4–23; Masao Yamaguchi, “The Poetics of Exhibition in Japanese Culture,” in Exhibiting Cultures: The Poetics and Politics of Museum Display, ed. Ivan Karp and Steven D. Lavine, 57–67 (Washington, D.C.: Smithsonian Institution Press, 1991).
Hiromi Oda, “An Embodied Semantic Mechanism for Mimetic Words in Japanese” (PhD diss., Indiana University, 2000); Noriko Iwasaki, Peter Sells, and Kimi Akita, The Grammar of Japanese Mimetics: Perspectives from Structure, Acquisition, and Translation (New York: Taylor & Francis, 2016).
See Michael Lucken, Imitation and Creativity in Japanese Arts: From Kishida Ryusei to Miyazaki Hayao (New York: Columbia University Press, 2016); Raja Adal, Beauty in the Age of Empire: Japan, Egypt, and the Global History of Aesthetic Education (New York: Columbia University Press, 2019).
See Gyōfu Karuma, “CM: KDDI [Asano Tadanobu] au ‘koitsu no namae oshiete,’” January 13, 2013, YouTube video, 0:30, https://www.youtube.com/watch?v=t8Ph5Wm6AL8.
Celia Lury, Prosthetic Culture (New York: Routledge, 2013); Karina Eileraas, Between Image and Identity: Transnational Fantasy, Symbolic Violence, and Feminist Misrecognition (New York: Lexington Books, 2007); Maurice O. Wallace and Shawn Michelle Smith, Pictures and Progress: Early Photography and the Making of African American Identity (Durham, N.C.: Duke University Press, 2012); Lynda Mannik, Photography, Memory, and Refugee Identity: The Voyage of the SS Walnut, 1948 (Vancouver: University of British Columbia Press, 2013); Maiken Umbach and Scott Sulzener, Photography, Migration, and Identity: A German-Jewish-American Story (Cham, Switzerland: Springer, 2018); Peter Hamilton and Roger Hargreaves, The Beautiful and the Damned: The Creation of Identity in Nineteenth Century Photography (London: Lund Humphries, 2001).
Michel Foucault, “Of Other Spaces,” trans. Jay Miskowiec, Diacritics 16, no. 1 (1986): 22–27.
Guillory, “Genesis of the Media Concept,” 321–23, 346–47.
Halliwell, Aesthetics of Mimesis, 15.
Erich Auerbach, Mimesis: The Representation of Reality in Western Literature (Princeton, N.J.: Princeton University Press, 1953); Clement Greenberg, “Avant-Garde and Kitsch,” Partisan Review 6, no. 5 (1939): 34–49; Luce Irigaray, This Sex Which Is Not One (Ithaca, N.Y.: Cornell University Press, 1985); Luce Irigaray, Speculum of the Other Woman (Ithaca, N.Y.: Cornell University Press, 1985); Richard Rorty, Philosophy and the Mirror of Nature (Princeton, N.J.: Princeton University Press, 2009). See also John D. Boyd, The Function of Mimesis and Its Decline (New York: Fordham University Press, 1980); Tom Cohen, Anti-mimesis from Plato to Hitchcock (New York: Cambridge University Press, 1994); Andrew Benjamin, Art, Mimesis, and the Avant-Garde: Aspects of a Philosophy of Difference (New York: Routledge, 2005).
Michael T. Taussig, Mimesis and Alterity: A Particular History of the Senses (New York: Psychology Press, 1993); Susan Buck-Morss, “Aesthetics and Anaesthetics: Walter Benjamin’s Artwork Essay Reconsidered,” October 62 (1992): 3–41; Susan Buck-Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, Mass.: MIT Press, 1991); Susan Buck-Morss, The Origin of Negative Dialectics: Theodor W. Adorno, Walter Benjamin, and the Frankfurt Institute (New York: Free Press, 1977); René Girard, Violence and the Sacred (London: A&C Black, 2005); René Girard, A Theatre of Envy: William Shakespeare (Leominster, U.K.: Gracewing Publishing, 2000); René Girard, The Girard Reader (New York: Crossroad, 1996); René Girard, The Scapegoat (Baltimore: Johns Hopkins University Press, 1989); René Girard, To Double Business Bound: Essays on Literature, Mimesis, and Anthropology (Baltimore: Johns Hopkins University Press, 1988); Roger Caillois, Man, Play, and Games (Urbana: University of Illinois Press, 2001); Roger Caillois, “Mimicry and Legendary Psychasthenia,” trans. John Shepley, October 31 (1984): 17–32; Tom Huhn, Imitation and Society: The Persistence of Mimesis in the Aesthetics of Burke, Hogarth, and Kant (University Park: Penn State University Press, 2010); Kendall L. Walton, Mimesis as Make-Believe: On the Foundations of the Representational Arts (Cambridge, Mass.: Harvard University Press, 1990).
Andrew E. Benjamin, Art, Mimesis, and the Avant-Garde: Aspects of a Philosophy of Difference (New York: Psychology Press, 1991), 13–25. See also Guillory, “Genesis of the Media Concept.”
J. David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, Mass.: MIT Press, 1999), 273, 59.
Martin Jay, Cultural Semantics: Keywords of Our Time (Amherst: University of Massachusetts Press, 1998).
Weber, Mass Mediauras; Philippe Lacoue-Labarthe and Christopher Fynsk, Typography: Mimesis, Philosophy, Politics (Stanford, Calif.: Stanford University Press, 1998); Jacques Derrida, “Double Session,” in Dissemination (London: Athlone Press, 1981), 173–366.
Here I draw on Lacan’s useful distinction between “the real” and realities, imaginary, and symbolic domains. See seminars 3, 7, and 11 in Jacques Lacan, The Psychoses, 1955–1956, trans. Russell Grigg, The Seminar of Jacques Lacan (New York: W. W. Norton, 1997); Jacques Lacan, The Ethics of Psychoanalysis, 1959–1960, book 7 (New York: W. W. Norton, 1997); Jacques Lacan, The Four Fundamental Concepts of Psycho-analysis (New York: W. W. Norton, 1981). One might usefully compare Jean-François Lyotard’s notion of truths as opposed to the truth here. See The Postmodern Condition: A Report on Knowledge (Minneapolis: University of Minnesota Press, 1984).
Timothy J. Welsh, Mixed Realism: Videogames and the Violence of Fiction (Minneapolis: University of Minnesota Press, 2016).
See Graham Harman, The Quadruple Object (New York: Zero Books, 2011); Graham Harman, Object-Oriented Ontology: A New Theory of Everything (New York: Penguin, 2018); Graham Harman, “Materialism Is Not the Solution: On Matter, Form, and Mimesis,” Nordic Journal of Aesthetics 24, no. 47 (2015): 94–110; Graham Harman, “A New Sense of Mimesis,” in Aesthetics Equals Politics: New Discourses across Art, Architecture, and Philosophy, ed. Mark Foster Gage, 49–61 (Cambridge, Mass.: MIT Press, 2019).
See J. David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, Mass.: MIT Press, 1999). See Saitō’s comments on Matsuura Hisaaki in Saitō Tamaki, Beautiful Fighting Girl, trans. Keith Vincent and Dawn Lawson (Minneapolis: University of Minnesota Press, 2011), 196n1.
It is likely, for instance, that James Joyce was citing a Japanese Victor record when he wrote, “Thot’s never the postal cleric, checking chinchin chat with nipponnippers!” in Finnegans Wake 485.36.
Lisa Gitelman, “How Users Define New Media: A History of the Amusement Phonograph,” in Rethinking Media Change: The Aesthetics of Transition, ed. David Thorburn and Henry Jenkins (Cambridge, Mass.: MIT Press, 2004), 68.
We should note here Sianne Ngai’s notion of cute as an aesthetic of consumption that “often seems to lead immediately to feelings of manipulation and betrayal” and precisely marks the consumer’s powerlessness. Sianne Ngai, Our Aesthetic Categories: Zany, Cute, Interesting (Cambridge, Mass.: Harvard University Press, 2012), 86.
Michael T. Taussig, Mimesis and Alterity: A Particular History of the Senses (New York: Psychology Press, 1993), 219.
Taussig, Mimesis and Alterity, 220.
See Henry Jenkins, Sam Ford, and Joshua Green, Spreadable Media: Creating Value and Meaning in a Networked Culture (New York: NYU Press, 2013); Tony D. Sampson, Virality: Contagion Theory in the Age of Networks (Minneapolis: University of Minnesota Press, 2012). The copy of a copy is also known as a simulacrum. Gilles Deleuze, “Plato and the Simulacrum,” trans. Rosalind Krauss, October 27 (1983): 45–56; Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser (Ann Arbor: University of Michigan Press, 1994); Brian Massumi, “Realer Than Real: The Simulacrum According to Deleuze and Guattari,” Copyright 1 (1987): 90–97.
Azuma, General Will 2.0.
Translation modified from Saitō, Beautiful Fighting Girl, 156; Saitō Tamaki, Sentō bishōjo no seishin bunseki (Tokyo: Chikuma Shobō, 2006).
Michael Riffaterre, Fictional Truth (Baltimore: Johns Hopkins University Press, 1990).
Azuma Hiroki, Gēmu-teki riarizumu no tanjō: Dōbutsukasuru posuto modan 2 (Tokyo: Kōdansha, 2007).
Marshall McLuhan, Understanding Media: The Extensions of Man (Cambridge, Mass.: MIT Press, 1994), 305.
Greenberg, “Avant-Garde and Kitsch.”
Timothy Morton, Hyperobjects: Philosophy and Ecology after the End of the World (Minneapolis: University of Minnesota Press, 2013).
See, for instance, “Bikutā koronbia no shinkyoku” (advertisement), Yomiuri Shinbun, August 23, 1908, morning edition, 4.
Michael Raine, “Adaptation as ‘Transcultural Mimesis’ in Japanese Cinema,” in The Oxford Handbook of Japanese Cinema, ed. Daisuke Miyao (New York: Oxford University Press, 2014), 114. See also David Bordwell, Ozu and the Poetics of Cinema (Ann Arbor: University of Michigan Press, 1988), 67.
Tom Gunning, “Re-newing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century,” in Rethinking Media Change: The Aesthetics of Transition, ed. David Thorburn and Henry Jenkins, 61–80 (Cambridge, Mass.: MIT Press, 2004); Dragnet Girl, directed by Ozu Yasujirō (1933; New York: Criterion Collection, 2015), DVD.
Aaron Skabelund, Empire of Dogs: Canines, Japan, and the Making of the Modern Imperial World (Ithaca, N.Y.: Cornell University Press, 2011), 2.
Stuart Hall, “Encoding/Decoding,” in Media and Cultural Studies: Keyworks, ed. Meenakshi Gigi Durham and Douglas M. Kellner, 163–73 (Hoboken, N.J.: John Wiley & Sons, 2009); Stuart Hall, Encoding and Decoding in the Television Discourse (Birmingham, U.K.: Centre for Contemporary Cultural Studies, 1973).
Rorty, Philosophy and the Mirror of Nature.
Derek Brewer, “Escape from the Mimetic Fallacy,” in Studies in Medieval English Romances: Some New Approaches, ed. Derek Brewer, 1–11 (Woodbridge, U.K.: Boydell & Brewer Ltd., 1988).
Walter Benjamin, “On the Mimetic Faculty,” in Reflections (New York: Schocken Books, 1986), 333–36. See also Walter Benjamin, “Doctrine of the Similar (1933),” trans. Knut Tarnowski, New German Critique 17 (1979): 65–69.
Nakai Masakazu, “Chikuonki no hari” (Kyōto hinode shinbun, June 5, 1933), in Nakai Masakazu zenshū, vol. 4 (Tokyo: Bijutsu shuppansha, 1981), available at Aozora bunko, https://www.aozora.gr.jp/cards/001166/card49713.html.
Adorno also remarks on this slippage as being present in the logo. Theodor W. Adorno, “The Curves of the Needle,” October 55 (Winter 1990): 54.
Hatano Isoko, Bikutā meiken monogatari: Nippā-chan (Tokyo: Shōgakukan, 1952).
Komura Michizō, “Koinu no Nippā,” with Hattori Junko and the Victor Children’s Orchestra and with lyrics by Sakaguchi Jun, Japanese Victor, B-247 C-1222.
Streaming files of the record playing available at Jun’ichi, “Nippā no uta, mitsuke tatta w,” zenmaijikake no ryū nishiki, https://ameblo.jp/969-dragon/entry-12396220242.html; Sakaguchi Jun, “Koinu no nippā,” Rekishi-teki ongen (Kokuritsu Kokkaitoshokan), https://rekion.dl.ndl.go.jp/info:ndljp/pid/1332059.
Taussig, Mimesis and Alterity, 225.
Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham, N.C.: Duke University Press, 2010), 6.
See the Victor Online Store at https://victor-store.jp/. See also Ruth Edge and Leonard Petts, The Collectors Guide to “His Master’s Voice” Nipper Souvenirs (London: EMI Group, 1997).
“Maitoshi Nigatsu yōka wa ‘nippā no hi’ to shite seitei,” Bikutāentateinmento puresurirīsu shōsai-mei, January 15, 2015, https://www.jvcmusic.co.jp/company/press/2015/0206.html; “Nigatsu yōka wa ‘nippā no hi’: Bikutā inu nippā ga Nihon de kinenbi ni,” CDJournal nyūsu, accessed October 14, 2020, https://www.cdjournal.com/main/news/yamazaki-aoi/64416; “Sūshinchū: Meiken nippā doggunrōru,” Bikutā entateinmento, Victor Entertainment, accessed October 14, 2020, https://www.jvcmusic.co.jp/-/Discography/A025632/NZS-807.html.
Max Horkheimer and Theodor W. Adorno, Dialectic of Enlightenment (New York: Continuum, 1989), 93–110.
Ngai, Our Aesthetic Categories.
See especially books 3 and 10 of Plato, Plato: Republic X, trans. S. Halliwell (Oxford: Oxford University Press, 1988).
Adorno and Horkheimer, Dialectic of Enlightenment, 187.
Theodor W. Adorno, The Culture Industry: Selected Essays on Mass Culture (London: Routledge, 2020), 83.
Ruth Benedict, The Chrysanthemum and the Sword: Patterns of Japanese Culture (1946; New York: Meridian Books, 1967); Robert J. Smith, Japanese Society: Tradition, Self, and the Social Order (Cambridge: Cambridge University Press, 1983).
Yamazaki Masazumi, “Mimēshisu-ron: Maruyama Masao to haisen-go bungaku,” Gengo bunka-gaku kenkyū 2 (2007): 46.
Literary critic Yamazaki Masazumi contrasts Maruyama’s variety of wartime mimesis with another postwar mode of creative, life-sustaining mimesis. Masazumi argues that the postwar opened the possibility for a double layer structure in mimesis, wherein one layer dissolves the self and the other speaks it. He shows how mimesis as a form of self-preservation can result either in the suicidal tendencies of fascism or solipsism (as in the work of Dazai Osamu) or in the newly acquired survival skill of rejecting suicide via a kind of postwar egoism (as exemplified by Noma Hiroshi). Yamazaki, “Mimēshisu-ron,” 51–56.
Masao Maruyama, “From Carnal Politics to Carnal Literature,” in Thought and Behavior in Modern Japanese Politics (Oxford: Oxford University Press, 2008), 251.
Buck-Morss, “Aesthetics and Anaesthetics”; Buck-Morss, Origin of Negative Dialectics; Gertrud Koch, “Mimesis and Bilderverbot,” Screen 34, no. 3 (October 1, 1993): 211–22; Andreas Huyssen, “Of Mice and Mimesis: Reading Spiegelman with Adorno,” New German Critique 81 (2000): 65–82; Vittorio Gallese, “The Two Sides of Mimesis: Girard’s Mimetic Theory, Embodied Simulation, and Social Identification,” Journal of Consciousness Studies 16, no. 4 (January 1, 2009): 21–44.
See Buck-Morss, “Aesthetics and Anaesthetics,” 17; Max Horkheimer and Theodor W. Adorno, Dialectic of Enlightenment, trans. John Cumming (New York: Herder and Herder, 1972), 180. Also discussed in Taussig, Mimesis and Alterity, 68.
Michele White, The Body and the Screen: Theories of Internet Spectatorship (Cambridge, Mass.: MIT Press, 2006); Katie Warfield, Crystal Abidin, and Carolina Cambre, Mediated Interfaces: The Body on Social Media (New York: Bloomsbury Academic, 2020); Gabriele Klein and Sandra Noeth, Emerging Bodies: The Performance of Worldmaking in Dance and Choreography (Bielefeld, Germany: Transcript Verlag, 2014); Kristin L. Arola and Anne Frances Wysocki, Composing(Media) = Composing(Embodiment) (Louisville: University Press of Colorado, 2012); Kenny K. N. Chow, Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness (Houndmills, U.K.: Palgrave Macmillan UK, 2013); Lisa Blackman, Immaterial Bodies: Affect, Embodiment, Mediation (Los Angeles: SAGE Publications, 2012).
2. Stereomimesis
Throughout this chapter, I use stereography to mean stereographic photography, stereoscopy to refer to looking through an apparatus to render three-dimensional images in the mind’s eye, and stereograph to refer to the cardboard-mounted double image photographs taken from slightly differing vantage points.
I am in debt to collector and scholar Rob Oechsle, who has done a formidable job of gleaning much of Enami Nobukuni’s life story from scant sources and photographic evidence and who, through his now defunct website at Enami.org and his Flickr account, has been a major disseminator of Enami’s images. Unless otherwise attributed, all relevant information here about Enami stems from Oechsle’s work. Rob Oechsle, “Searching for T. Enami,” in Old Japanese Photographs: Collectors’ Data Guide, ed. Terry Bennett, 70–78 (London: Bernard Quarritch, 2006).
Stephen Halliwell, The Aesthetics of Mimesis: Ancient Texts and Modern Problems (Princeton, N.J.: Princeton University Press, 2002), 5.
Horst Bredekamp comments: “Human beings have two conflicting drives: the urge to imitate the existing creation (natura naturata), and the incessant and curious urge to imitate the creativity of nature (natura naturans). Every new style evolves between these two forms of mimesis. That’s the dialectic of the profitability of imitation and a loss of originality. Imitation always produces a loss of originality. Originality, for its part, produces a lack of style. And that defines the balance that keeps swinging back and forth throughout the history of humankind: style—innovation—style—innovation, the two principles of imitation.” The Technical Image: A History of Styles in Scientific Imagery, ed. Horst Bredekamp, Birgit Schneider, and Vera Dünkel (Chicago: University of Chicago Press, 2019), 27.
Joseph Anderson and Barbara Fisher, “The Myth of Persistence of Vision,” Journal of the University Film Association 30, no. 4 (1978): 3–8; Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, Mass.: MIT Press, 1992); Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture (Cambridge, Mass.: MIT Press, 2001); Margarida Medeiros, Teresa Mendes Flores, and Joana Cunha Leal, Photography and Cinema: 50 Years of Chris Markers La Jetée (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2015).
Kōjin Karatani, Transcritique: On Kant and Marx (Cambridge, Mass.: MIT Press, 2005); Kōjin Karatani, History and Repetition (New York: Columbia University Press, 2012).
Jacques Derrida, “Economimesis,” trans. R. Klein, Diacritics 11, no. 2 (1981): 3–25.
Jacques Derrida, Copy, Archive, Signature: A Conversation on Photography (Stanford, Calif.: Stanford University Press, 2010), 7.
Derrida, Copy, Archive, Signature, 12.
Derrida, “Economimesis.”
Eric Hayot, On Literary Worlds (Oxford: Oxford University Press, 2012), 58–67.
For more on ground and figure in terms of media, see Marshall McLuhan and Eric McLuhan, Laws of Media: The New Science (Toronto: University of Toronto Press, 1992).
Anthony’s Photographic Bulletin 21 (1890): 286.
Terry Bennett, Photography in Japan, 1853–1912 (Rutland, Vt.: Tuttle Publishing, 2012), 232.
Association Belge de Photographie Bulletin 32 (1905): 414.
In July 1905, Masuda Gi’ichi, president of the Jitsugyō no Nihon publishing company, negotiated with the military (Rikugunshō bōei-shō) for Enami Nobukuni (attached to the second army) to photograph the Russo–Japanese warfront, Manila, and Singapore. See Japan Center for Asian Historical Records record number C03026576500. The resulting photographs appeared in the Jitsugyō no Nihon’s Seirō shashin gachō later that year.
See National Geographic vols. 40 (1921) and 42 (1922).
Japan Center for Asian Historical Records record number B09073034300.
Appendix to “Photographers in the Far East” (letter), folder Grosvenor, Gilbert H. Travels GHG Japan, Russia, Manchuria, Siberia 11–15.699F1, Box 66, National Geographic Archives, Washington, D.C. From this file, it seems Elizabeth Scidmore may also have had contact with Enami.
Bennett, Photography in Japan, 237.
Advertisement reproduced in Bennett, Photography in Japan, 233.
Crary, Techniques of the Observer, 124–25.
Yajima Masumi, “Hābāto Jōji Pontingu no utsushi shita: Nihon-shizen o daizai to shita shashin no kōsatsu,” ed. Tōhokudaigaku kokusai bunka gakkai, Kokusai bunka kenkyū 1341, no. 0709 (2013): 117–30; Pierre Loti and Chantal Édel, Japon: Fin de siècle—photographies de Felice Beato et Raimund von Stillfried (Paris: Arthaud, 2000); Felice Beato, Once upon a Time: Visions of Old Japan (New York: Friendly Press, 1986); Luke Gartlan, A Career of Japan: Baron Raimund von Stillfried and Early Yokohama Photography (Leiden, The Netherlands: Brill, 2016); Iskander Mydin, “Historical Images, Changing Audiences,” in Anthropology and Photography, 1860–1920, ed. Elizabeth Edwards, 249–52 (New Haven, Conn.: Yale University Press, 1992).
Jennifer Dalton, Nikki S. Lee, Anthony Goicolea, and David Henry Brown, “Look at Me: Self-Portrait Photography after Cindy Sherman,” PAJ: A Journal of Performance and Art 22, no. 3 (2000): 47–56; Marvin Heiferman, “In Front of the Camera, Behind the Scene: Cindy Sherman’s ‘Untitled Film Stills,’” MoMA 25 (1997): 16–19; Biljana Scott, “Picturing Irony: The Subversive Power of Photography,” Visual Communication 3, no. 1 (February 1, 2004): 31–59; Shimizu Akiko, Lying Bodies: Survival and Subversion in the Field of Vision (New York: Peter Lang, 2008); Susan Rubin Suleiman, Subversive Intent: Gender, Politics, and the Avant-Garde (Cambridge, Mass.: Harvard University Press, 1990). See also Yasumasa Morimura, To My Little Sister: For Cindy Sherman, 1998, photo-silver dye bleach print, 31 × 55 in. (78.7 × 139.7 cm), International Center of Photography, https://www.icp.org/browse/archive/objects/to-my-little-sister-for-cindy-sherman.
Deborah Bright, The Passionate Camera: Photography and Bodies of Desire (New York: Psychology Press, 1998), 197; Laura Mulvey, Fetishism and Curiosity: Cinema and the Mind’s Eye (New York: Macmillan International Higher Education, 2013), 97.
Daniel Novak, “Labors of Likeness: Photography and Labor in Capital,” Criticism: A Quarterly for Literature and the Arts 49, no. 2 (Spring 2007): 125.
Jean Baudrillard, Impossible Exchange (London: Verso Books, 2012), 189.
Donna Jeanne Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,” in Simians, Cyborgs, and Women: The Reinvention of Nature (New York: Free Association Books, 1991), 189.
Slavoj Žižek, “Avatar: Return of the Natives,” New Statesman, March 4, 2010.
The series of similar ads began in the Asahi Shinbun, October 11, 1902, issue on page 4. The version quoted from was carried on page 4 of the September 5, 1903, issue. William Reeves, Coin Controlled Apparatus, U.S. Patent 582,685, filed February 8, 1897, and issued May 18, 1897; William Reeves, “Coin Controlled Machine,” Letters Patent No. 526,539 September 25, 1894.
Ogawa Kazumasa, A Photographic Album of the Japan–China War: Nisshin sensō shashinchō (Tokyo: Hakubundō, 1895); Nisshin sensō jikki, April 1896–99. See Kelly M. McCormick, “Ogawa Kazumasa and the Halftone Photograph: Japanese War Albums at the Turn of the Twentieth Century,” Technologies 7, no. 2 (Spring 2017).
Takahashi Seori, Kankaku no modan: Sakutaro, Jun’ichiro, Kenji, Ranpo (Tokyo: Serika Shobo, 2003), 105. Digital copies of early books on photography such as Seimikyoku hikkei (1862) and Shashinkyō zusetsu (1867) are available the Open Dataset of the National Institute of Japanese Literature (Kokubunken dētasetto kan’i u~ebu etsuran) here: http://www2.dhii.jp/nijl_opendata/NIJL0197/049-0219/ and http://www2.dhii.jp/nijl_opendata/NIJL0192/049-0217/.
Enami took twelve of the twenty-four photos published in K. Ogawa, Fuji-san (1912); see digital copy on collector George C. Baxley’s website: http://www.baxleystamps.com/litho/ogawa/ogawa_fuji_1912.shtml. Yamaguchi Masao, “The Poetics of Exhibition in Japanese Culture,” in Exhibiting Cultures: The Poetics and Politics of Museum Display, ed. I. Karp and S. Lavine, 57–67 (Washington, D.C.: Smithsonian Institution, 1991).
See Urasaki Eishaku, Nihon kindai bijutsu hattatsu-shi-Meiji-hen (Tokyo: Tōkyō bijutsu, 1974), 314–18; Seiji M. Lippit, Topographies of Japanese Modernism (New York: Columbia University Press, 2002), 142. See the list of Panorama Halls at “Panorama,” Misemono kōgyō nenpyō, http://blog.livedoor.jp/misemono/archives/52115993.html. See also Richard Okada, “‘Landscape’ and the Nation-State: A Reading of Nihon fukei ron,” in New Directions in the Study of Meiji Japan, ed. Helen Hardacre and Adam Lewis Kern (New York: Brill Japanese Studies Library, 1997), 102.
Mentioned in Kamoi Takeshi, “Jittai shashin no hanashi,” Kōgyō kagaku zasshi 4 (1910): 400.
Bernd Poch, “Das Kaiserpanorama: Das Medium, seine Vorgänger und seine Verbreitung in Nordwestdeutschland,” http://www.massenmedien.de/kaiserpanorama/emden/emden.htm.
“Kimura kōseikan honten nichirosensō sōgan shashin dai hanbai,” Asahi Shinbun, April 3, 1904.
Hosoma also sees the likelihood of divergent evolution. Hosoma Hiromichi, Asakusa jūnikai: Tō no nagame to kindai no manazashi (Tokyo: Seidosha, 2011), 167.
Crary, Suspensions of Perception, 163.
Hosoma, Asakusa jūnikai, 157, 161.
Alfred North Whitehead, Process and Reality (New York: Simon and Schuster, 2010); James Jerome Gibson, The Ecological Approach to Visual Perception (New York: Psychology Press, 1986); Mark B. N. Hansen, Feed-Forward: On the Future of Twenty-First-Century Media (Chicago: University of Chicago Press, 2015); Katherine Hayles, Unthought: The Power of the Cognitive Nonconscious (Chicago: University of Chicago Press, 2017).
Hosoma, Asakusa jūnikai, 158.
Hosoma, 158.
See “Dainippon ryōunkaku no zu,” special materials no. 89200828, April 10, 1890; 89200829, September 30, 1890; 15200106, October 7, 1890; 89200827, December 1890, Edo Tokyo Hakubutsukan. Also “Dainippon ryōunkaku no zu,” 1890, bunko no. 10 08073 0014, Waseda library, http://www.wul.wasedaac.jp/kotenseki/html/bunko10/bunko10_08073_0014/index.html; facsimile in Kitagawa Chikashi, Sensōji bunka (5) (Tōkyō: Sensōji shiryō hensanjo, 1963), available at the Meiji Taisho 1868–1926 Showcase, http://showcase.meijitaisho.net/entry/ryounkaku_02.php.
See also “Kanarazu Ryounkaku ni nobore,” special materials no. 88977119, Edo Tokyo Hakubutsukan. “Ryounkaku tōkaku kiji,” Kōdan zasshi (22) February 7, 1891, and Utagawa Kunisada III, “Ryōunkaku-ki e-sugoroku,” special materials no. 87102202, November 1890, Edo Tokyo Hakubutsukan.
Lippit, Topographies of Japanese Modernism, 52.
Elaine Gerbert, introduction to Ranpo Edogawa, The Strange Tale of Panorama Island, trans. Elaine Gerbert (Honolulu: University of Hawaiʻi Press, 2013), x.
Brian Massumi, “Panoscopie: La photographie panoramique de Luc Courchesne,” CVPhoto 60 (2003): 22–26. English translation available at Brian Massumi, “PANOSCOPIA: The Panoramic Photography of Luc Courchesne,” accessed July 28, 2011, http://www.brianmassumi.com/english/essays.html.
Edogawa Ranpō, “The Man Traveling with the Brocade Portrait” [“Oshie to tabi suru otoko” (1929)], trans. Michael Tangeman, in Modanizumu: Modernist Fiction from Japan, 1913–1938, ed. William Jefferson Tyler, 376–93 (Honolulu: University of Hawaiʻi Press, 2008).
The affordances here are not the static ones of the cinema associated with male flaneur gaze but more akin to those of the female transportive media of the flaneuse’s diorama as described in Anne Friedberg, Window Shopping: Cinema and the Postmodern (Berkeley: University of California Press, 1994). Thus the viewing affordances of the tower and vending machine present the distributed power over a consumer society described in Debord.
Lippit, Topographies of Japanese Modernism, 142.
Ranpō, “Man Traveling with the Brocade Portrait,” 386.
Ai Maeda, “The Panorama of Enlightenment,” trans. Henry D. Smith, Text and the City: Essays on Japanese Modernity (Durham, N.C.: Duke University Press, 2004), 83.
Timon Screech, The Lens Within the Heart: The Western Scientific Gaze and Popular Imagery in Later Edo Japan (New York: Routledge, 2018), 120–27.
Hosoma, Asakusa jūnikai, 163.
Crary, Techniques of the Observer, 124–25; Ray Zone, Stereoscopic Cinema and the Origins of 3-D Film, 1838–1952 (Lexington: University Press of Kentucky, 2014), 75.
Crary, Suspensions of Perception, 139.
Hosoma, Asakusa jūnikai, 158.
Hosoma, 160.
For instance, the Gaumont Stereodrome, the Richard Taxiphote, the Caldwell Sweetheart viewer, the Ica Multiplast, and the Becker tabletop viewers mentioned in Anne Wilkes Tucker et al., eds., The History of Japanese Photography (New Haven, Conn.: Yale University Press, 2003), 335.
Susan Sontag, On Photography (New York: Farrar, Straus and Giroux, 2011), 31.
“Tokkyo shōkai no zanshin hatsumei kikai Tōkyō Nihonbashi,” Yomiuri Shinbun, October 22, 1903.
Crary also mentions the connection to peeping. See Suspensions of Perception, 136.
Crary, Techniques of the Observer, 9.
Mark B. N. Hansen, New Philosophy for New Media (Cambridge, Mass.: MIT Press, 2004), 37–38.
Walter Benjamin, “Imperial Panorama: A Tour of German Inflation,” in Reflections: Essays, Aphorisms, Autobiographica; Writings, trans. Edmund Jephcott (New York: Schocken Books, 1978), 75.
The Arita machine now on display at the Nihon kamera hakubutsukan (Japanese Camera Museum) plays the children’s song “Moshi moshi kameyo,” suggesting that at least one variety of the machine was intended for a younger audience than the 1905 models displaying photos of the war. Sugiyama Kazuo, Pachinko tanjo: Shinema no seiki no taishu goraku (Osaka: Sogensha, 2008), 134. It is unclear if this is the same machine displayed in a 2012 exhibit at the museum that was listed as having appeared in 1897. See also the design for a similar model with an organ in Hosoma, Asakusa jūnikai, 158, fig. 7-2.
Hosoma, Asakusa jūnikai, 156.
Sugiyama, Pachinko tanjo, 137–38. See also John Plunkett, “Selling Stereoscopy, 1890–1915: Penny Arcades, Automatic Machines, and American Salesmen,” Early Popular Visual Culture 6, no. 3 (November 1, 2008): 240.
Sugiyama, Pachinko tanjo, 132–33.
“Arita seisakusho jidō panorama-kyō jidō omikuji-ki jidō tsujiura yasu dan-ki hoka” (advertisement), Asahi Shinbun, February 20, 1914. Similar ads appeared in the March 15, June 4, and November 1 issues of Jitsugyō no Nihon magazine. See also Sugiyama, Pachinko tanjo, 134; Aruki Nasu, “Taishō jidai no jidō hanbaiki,” Aruki Nasu no nikki-chō, accessed April 2018, http://sutoratosu111.blog.fc2.com/blog-entry-32.html.
Advertisement reproduced in Hosoma, Asakusa jūnikai, 190; Sugiyama, Pachinko tanjo, 132–37.
“The real consumer has become a consumer of illusions. The commodity is this materialized illusion and the spectacle is its general expression.” Guy Debord, Society of Spectacle, trans. Ken Knabb (Berkeley, Calif.: Bureau of Public Secrets, 2014), 19.
Maeda, “Panorama of Enlightenment,” 77–89; Henri Lefebvre, The Production of Space (New York: Wiley, 1992), 46–65.
Baudrillard, Impossible Exchange, 181–87.
See Oliver Wendell Holmes, “The Age of Photography,” Atlantic, June 1859, 738–48, available online retitled as Oliver Wendell Holmes, “The Stereoscope and the Stereograph,” Atlantic, June 1859, https://www.theatlantic.com/magazine/archive/1859/06/the-stereoscope-and-the-stereograph/303361/.
Crary, Techniques of the Observer, 30, 35, 50n54. See also Daniel L. Collins, “Anamorphosis and the Eccentric Observer: Inverted Perspective and Construction of the Gaze,” Leonardo 25, no. 1 (1992): 73–82.
Indeed, late nineteenth-century mathematical discourse also used rittai to refer to the objects of solid geometry. Fujisawa Rikitaro, “Sanjutsu kyōkasho,” in Gekan (Tokyo: Dainihon tosho, 1896). I thank Steve Ridgley for this point.
Wilhelm Max Wundt, Lectures on Human and Animal Psychology (New York: MacMillan, 1896), 202.
Uiruherumu Bunto, Jinrui oyobi dōbutsu shinrigaku kougi, trans. Terauchi Ei (Tokyo: Shūeidō, 1902).
Crary, Techniques of the Observer, 120–25. Ultimately the long-valued myth of the “persistence of vision” residing in the eyes for the apprehension of movement in film continues on at a remove in the brain that has to make singular sense of double images in something like a persistence of image for the apprehension of space.
Edogawa Rampo, “Horrors of Film,” trans. Seth Jacobowitz, in The Edogawa Rampo Reader (Tokyo: Kurodahan Press, 2008); Roland Barthes, Camera Lucida: Reflections on Photography (New York: Macmillan, 1981), 96.
Derrida, Copy, Archive, Signature.
The “click” of stereoscopic apprehension is well described in Thomas Banchoff et al., 3D: Double Vision, ed. Britt Salvesen (Los Angeles: Prestel, 2018); and Susan R. Barry, Fixing My Gaze: A Scientist’s Journey into Seeing in Three Dimensions (New York: Basic Books, 2009).
Susan Sontag, On Photography (New York: Farrar, Straus and Giroux, 2011), 98.
Crary, Techniques of the Observer, 125.
See Crary, 132–37.
See Figure 8. For convergence in stereography, see Otagi Michifusa, “Sutereo ni kansuru moro mondai,” Shashin kōgyō, August 1953, 92–94. For convergence and polarized lenses for viewing film, see Ōtomo Shōji, “Rittai eiga: ‘Tōtarusukōpu,’” 73 Nihon SF besuto shūsei 2 (1973): 250–53.
Ishikawa Kenji, 3D rittai eizō ga yattekuru: Terebi eiga no 3 D fukyū wa kō naru! (Tokyo: Ōmu-sha, 2010).
Edogawa Rampo, The Edogawa Rampo Reader, trans. Seth Jacobowitz (Tokyo: Kurodahan Press, 2008).
Hagiwara Sakutaro, “Boku no shashinki,” Asahi kamera 28, no. 4 (October 1939): 701.
Jun Tanaka, “Urban Poetics and Photography: Methodology and Some Case Studies” (paper presented at For the New Urban Poetics, Korea University, Seoul, South Korea, April 12, 2008). Jun Tanaka places Hagiwara on par with Benjamin.
Hagiwara Sakutaro, “Panorama-kan nite,” in Hagiwara Sakutaro zenshū, vol. 2 (Tokyo: Chikuma shobō, 1976), 271–74.
According to the count by Tsukada Shinya et al., “Kindai shijin Hagiwara Sakutarō no satsuei shita shashin ga toraeta fūkei yōso ni kansuru kentō,” Randosukēpu kenkyū: Onrain ronbun-shū 5 (2012): 91. The remaining stereoscopic photos capture a variety of buildings, waterways, and landscapes.
Kumagai Kensuke, “Hagiwara Sakutarō ‘Aoneko-igo’ to kyōshū-‘nosutarudjiya’ no rekishi-sei,” Jinbun kenkyū 193 (2017): 22; Īzawa Kōtarō, “‘Kyōshū’ no kyori,” in ‘Geijutsu shashin’ to sono jidai (Tokyo: Chikuma shobō, 1986), 179–95; Īzawa Kōtarō, “Kyōshū no gen fūkei,” in Nihonshashinshi o aruku (Tokyo: Chikuma gakugei bunko, 1999), 198–213; Tanaka Jun, “Toshi no shigaku—Hagiwara Sakutarō no sutereo shashin,” Toshi no shigaku (2007): 349–70.
Hagiwara Sakutaro, Teihon Aoneko: Jijo, Hagiwara Sakutaro zenshū, vol. 2 (Tokyo: Chikuma shobō, 1976), 582–95.
See, for instance, Thomas Lamarre’s discussion of Oshii Mamoru’s Avalon. Thomas Lamarre, The Anime Machine: A Media Theory of Animation (Minneapolis: University of Minnesota Press, 2013), 125.
Hagiwara Yōko, “Chichi no makuramoto,” in Bungei dokuhon Hagiwara Sakutarō (Tokyo: Kawade shobō, 1976), 147.
Hagiwara Yōko, “Chichi no makuramoto,” 148.
Bernard Stiegler, Technics and Time: Disorientation (Stanford, Calif.: Stanford University Press, 1998), 15.
Rampo, Strange Tale of Panorama Island, 78.
“Restrictions on Photography in the Precincts of Kotoku-in,” Kotoku-in, April 1, 2015, http://kotoku-in.jp/en-site/#post-10.
See Rob Oechsle’s post as Okinawa Soba (Rob), “The Daibutsu at Kamakura, Japan,” Flickr, https://www.flickr.com/photos/okinawa-soba/albums/72157604804207290/. See also Daibutsu of Kamakura, Miriam and Ira D. Wallach Division of Art, Prints, and Photographs: Photography Collection, New York Public Library, https://digitalcollections.nypl.org/items/510d47d9-c50b-a3d9-e040-e00a18064a99.
Preceded by the wooden statue, which had been destroyed in 1248 with its housings destroyed in storms in 1334, 1369, and 1498, the current statue has sat on its platform for some seven hundred years, even enduring serious damage to its base in the earthquake of 1923.
Daibutsu of Kamakura.
David L. Bourell, Joseph J. Beaman Jr., Ming C. Leu, and David W. Rosen, “A Brief History of Additive Manufacturing and the 2009 Roadmap for Additive Manufacturing: Looking Back and Looking Ahead,” RapidTech 2009: Proceedings of the US–TURKEY Workshop on Rapid Technologies.
Morioka Isao, “Rittai shashinzō no hatsumei: Chōkoku sokkuri ni dekiru,” Kodomo no kagaku 8, no. 3 (1928): 86–89; Morioka Isao, “Rittai shashinzō no hanashi,” Kaizō 10, no. 7 (July 1928): 83; Morioka Isao, “Rittai shashinzō no hanashi,” Shashin bunka, January 1928, 86–88; Uemura Taku, Okada Tetsurō, Morioka Isao, and Suzuki Takashi, “Supekutoru shashin: Shashin-yō kenchiku, Rittai shashin-zō,” in Kōjō shashin-jutsu (saishin shashin kagaku taikei), vol. 9, ed. Nakamura Michitarō, 1–19 (Tokyo: Seibundō shinkōsha, 1936); Matsuoka Yuzuru, “Dagu no rittai shashin-zō,” Bungeishunjū, December 1932, 12–14. Early news articles are posted on the guide to the company at the Rittaishashinzō company website, “Kaisha anai,” Rittaishashinzō kabushiki kaisha, http://www.rittai.co.jp/annai.html. “Sunbun mo chigawanu shōzō rittai shashin no hatsumei kore koso sekai-tekina o tegara to origami o tsuke rareta Morioka-shi,” Tokyo Asahi Shinbun, September 27, 1927; “Rittai no zō katachi o shashin de utsusu hatsumei Tōyōdai tetsugaku shusshin seinen ga kansei,” Yomiuri Shinbun, August 27, 1927.
See a list of celebrity statues at the Rittaishashinzō company’s website, “VIP sakuhinshū”Rittaishashinzō kabushiki kaisha,” http://www.rittai.co.jp/sakuhin/VIP.html. There are other statues visible on Nikon’s website, which contracted with Morioka from 1936 to 1946 to further develop his techniques: “Nikon chan’neru > shira rezaru Nikon no rekishi > sutereo shashin chōzō-hō,” Kabushikigaisha Nikon, accessed 2014, http://www.nikon.co.jp:80/channel/recollections/10/.
In a similar line of argumentation, Hans Belting recounts that a “Christomimesis” “was not . . . the business of the painter or of images.” Hans Belting, Likeness and Presence: A History of the Image before the Era of Art (Chicago: University of Chicago Press, 1994), 138, 150.
Morioka Isao, Photographic Method of Reproducing Original Objects, U.S. Patent US1719483A, filed September 21, 1927, and issued July 2, 1929.
Morioka Isao, “Rittai shashinzō no hatsumei: Chōkoku sokkuri ni dekiru,” Kodomo no kagaku, September 1928, 89; “Rittaishashinzō, Shiseidō rittaishashinzō-bu,” Yomiuri Shinbun, evening ed., October 12, 1933. Sven Saaler buys this utopian rhetoric about labor-saving in situating the technology in the economic downturn of the late 1920s. See Sven Saaler, Men in Metal: A Topography of Public Bronze Statuary in Modern Japan (Leiden, the Netherlands: Brill, 2020), 203.
Morioka Isao, “Rittai shashin-zō,” in Supekutoru shashin: Shashin-yō kenchiku, Kōjō shashin-jutsu (saishin shashin kagaku taikei), vol. 9, ed. Nakamura Michitarō (Tokyo: Seibundō shinkōsha, 1936), 6.
Matsuoka Yuzuru, “Dagu no rittai shashin-zō,” Bungeishunjū (December 1932): 13–14.
See Jonathan Crary, “Spectacle, Attention, Counter-Memory,” October 50 (1989): 97–107.
Jean Baudrillard, Simulacra and Simulation (Ann Arbor: University of Michigan Press, 1994).
Saaler, Men in Metal.
See Jayson Makoto Chun, A Nation of a Hundred Million Idiots? A Social History of Japanese Television, 1953–1973 (New York: Routledge, 2006); Simon Partner, Assembled in Japan: Electrical Goods and the Making of the Japanese Consumer (Berkeley: University of California Press, 2000), 173–75.
Hal Foster et al., The Return of the Real: The Avant-Garde at the End of the Century (Cambridge, Mass.: MIT Press, 1996), 128.
See also Rokudenashiko, What Is Obscenity? The Story of a Good for Nothing Artist and Her Pussy, trans. Anne Ishii, ed. Anne Ishii and Graham Kolbeins (Tokyo: Koyama Press, 2016); Rokudenashiko, Waisetsu tte nan desu ka? (Tokyo: Kinyōbi, 2015).
Crary, “Spectacle, Attention, Counter-Memory,” 98.
Rittai eiga wa (eiga kankyaku no) sōzōryoku o kyohisuru. Shimuzu and Ogi cited in Nakamura Hideyuki, “19531 D-toshi, Nihon ‘rittai eiga’ gensetsu to eiga kankyaku,” in Kankyaku e no apurōchi, ed. Hideaki Fujiki, vol. 14 of Nihon eigashi sōsho (Tokyo: Shinwasha, 2011), 75.
Lamarre, Anime Machine, 125.
“Restaurant Sushi Singularity,” Open Meals, http://www.open-meals.com/sushisingularity/index.html.
3. Schizoasthenic Media
Otomo Katsuhiro, Kanojo no omoide (Tokyo: Kōdansha, 1990), 19.
Michel Chion, Audiovision: Sound on Screen (New York: Columbia University Press, 1994), 129.
Steven Feld, “Pygmy POP: A Genealogy of Schizophonic Mimesis,” Yearbook for Traditional Music 28 (1996): 13.
See Luce Irigaray, Speculum of the Other Woman, trans. Gillian C. Gill (Ithaca, N.Y.: Cornell University Press, 1985), 257.
Catherine Munroe Hotes, “Wagorō Arai: His World of Silhouette Animation,” Nishikata Film Review (blog), September 8, 2014, http://nishikataeiga.blogspot.com/2014/09/wagoro-arai-his-world-of-silhouette.html.
“Kage’e eiga ‘Chōchōfujin no gensō’ kan joshi dōjō no shin sakkyoku de kaigai e purāge-shi e tsuraate ‘utsushi,’” Asahi Shinbun, March 29, 1940.
Y. Nagai and K. Kobatake, Japanese Popular Music: A Collection of the Popular Music of Japan Rendered in to the Staff Notation (Osaka: S. Miki & Co, 1891); Rudolf Dittrich, Six Japanese Popular Songs Collected and Arranged for the Pianoforte (Leipzig, Germany: Breitkopf & Härtel, 1894).
“DaisyField.com Archive of Japanese Traditional Music,” DaisyField.com, http://daisyfield.com/music/htm/-genres/japan.htm; Hara Kunio, “Puccini’s Use of Japanese Melodies in Madama Butterfly” (master’s thesis, University of Cincinnati, 2003).
Itō Nobuo, Chosakuken jiken hyakuwa: Sokumen kara mita chosakuken hattatsushi (Tokyo: Chosakuken Shiryō Kyōkai, 1976); Luo Li, Intellectual Property Protection of Traditional Cultural Expressions: Folklore in China (Cham, Switzerland: Springer Science & Business, 2014); Jessica Christine Lai, Indigenous Cultural Heritage and Intellectual Property Rights: Learning from the New Zealand Experience? (Cham, Switzerland: Springer Science & Business Media, 2014); Joseph Charles Hickerson, Copyright and Folksong (Washington, D.C.: Archive, 1975). See also Stephen M. Best, The Fugitive’s Properties: Law and the Poetics of Possession (Chicago: University of Chicago Press, 2010).
Miura Tamaki, “Putchiini ni shōtai sarete,” in Ochōfujin, ed. Yoshimoto Akimitsu, 87–97 (Tokyo: Tosho sentā, 1997).
Arthur Groos, “Return of the Native: Japan in Madama Butterfly/Madama Butterfly in Japan,” Cambridge Opera Journal 1, no. 2 (July 1989): 170; also cited in “Puccini Wants a Book for an American Opera,” New York Times, January 20, 1907; Arthur Groos, “Cio-Cio-San and Sadayakko: Japanese Music-Theater in Madama Butterfly,” Monumenta Nipponica 54, no. 1 (1999): 41–73.
Mayama Seika, Tōchūken Kumoemon Mayama Seika senshū, vol. 4 (Tokyo: Dainihon yūbenkai kōdansha, 1947); Kerim Yasar, Electrified Voices: How the Telephone, Phonograph, and Radio Shaped Modern Japan, 1868–1945 (New York: Columbia University Press, 2018), 91–109; Nobuo Itō, Chosakuken jiken hyakuwa: Sokumen kara mita chosakuken hattatsushi (Tokyo: Chosakuken Shiryō Kyōkai, 1976), 197. See also Otani Takushi, “Tōchūken Kumoemon jiken,” Jōhō kanri 56, no. 8 (2013): 552–55.
R. Murray Schafer, The New Soundscape (New York: Associated Music Publishers, 1969). See also R. Murray Schafer, The Soundscape: Our Sonic Environment and the Tuning of the World (New York: Knopf, 1977).
David Saunders, Authorship and Copyright (New York: Routledge, 1992), 171.
For a list of the Japanese records, see Kunio Hara, “The Death of Tamaki Miura: Performing Madama Butterfly during the Allied Occupation of Japan,” Music and Politics 11, no. 1 (Winter 2017), https://doi.org/10.17613/px11-vk55. For the U.S. records, see Discography of American Historical Recordings, s.v. “Miura, Tamaki,” https://adp.library.ucsb.edu/index.php/talent/detail/28303/Miura_Tamaki_vocalist_soprano_vocal.
Watanabe Hamako, Nagasaki no Ochōsan, lyrics by Ko Fujiura, composed by Nobuyuki Takeoka, arranged by Takio Niki, Nippon Columbia, 30348 A222, September 1939.
“About ‘Jizuki-Uta,” Daisyfield Archive of Japanese Traditional Music, DaisyField.com, http://daisyfield.com/music/htm/japan/Jizuki-Uta.htm.
A relatively complete discography of Miura’s work is available in Tanabe Hisayuki, Kōshō Miura Tamaki (Tokyo: Kindai bungeisha, 1995), 452–55. See also the limited discography in Kunio Hara, “The Death of Tamaki Miura: Performing Madama Butterfly during the Allied Occupation of Japan,” Music and Politics 11, no. 1 (Winter 2017): 1–26.
Hara, “Death of Tamaki Miura”; Puccini, “Un Bel Di Vedremo” (Hareta hi no) and “Con Onor Muore” (Misao ni shinuru wa), Chōchōfujin, Bikutā kangengakudan Bikutā rekodo 4149-A 4149-B (released June 1930), http://dl.ndl.go.jp/info:ndljp/pid/1321734.
Though preceded by Columbia records A49260 and A49265 released in November of 1917 featuring “Un bel dì, vedremo” and “Vogliatemi bene,” it was Miura’s version of “Con onor muore” on Nipponophone 5178, July 1922, that went viral. By one account on May 13, 1922, Miura had already laid down twenty different songs on twenty different records. “Miura tamaki no rekōdo fukikomi mi chōkan ongaku,” Yomiuri Shinbun, May 13, 1922; “Record Dealers Reap Harvest on Miura Songs: Phonograph Companies Sell 80,000 Selections of Noted Singer,” Japan Times, August 5, 1922; also mentioned in Hara, “Death of Tamaki Miura,” 11.
Puccini, “Un Bel Di Vedremo.”
Tanabe Hisayuki, Kōshō Miura Tamaki (Tokyo: Kindai bungeisha, 1995), 269–70.
Recorded on November 18, 1935, for sale beginning in January 1936, Columbia (Koromupia) record #35480A celebrated lyrics translated by Miura with a score edited by Okuyama Sadakichi. Those lyrics are transcribed in Miura Tamaki zenshū [pamphlet] (Tokyo: Nippon Columbia, 1995), 43.
Noboru Miyata, “The History and Present State of the Japanese Copyright Clearance System,” ABD 2000 31 (2): 5–6, available on the Asia-Pacific Cultural Centre for UNESCO site at http://www.accu.or.jp/appreb/09/pdf31-2/5_6ABD31-2.pdf.
See Tōru Mitsui, “Copyright and Music in Japan: A Forced Grafting and Its Consequences,” Music and Copyright, ed. Simon Frith (Edinburgh: Edinburgh University Press, 1993), 137.
“Ochōfujin no haikei o satsuei ni,” Asahi Shinbun, April 2, 1932.
“Shin eiga-hyō: Kikyōna misemono to shite tsūyō no nue-teki eiga: Ochōfujin,” Yomiuri Shinbun, March 28, 1933.
“Shin eiga-hyō: ‘Ochōfujin’ (Paramaunto eiga) fuman to kenen, daga, yokumo kore made Nihon-ka shita engi,” Asahi Shinbun, March 22, 1933. See also Nakamura Midori, “1930-nendai Shanhai ni okeru Hariuddo eiga ‘Madamu batafurai’ no juyō,” Bunka ronshū 42, no. 3 (2013): 1.
Asahi Shinbun, February 27, 1933, morning edition.
See Ralph S. Brown, “The Widening Gyre: Are Derivative Works Getting Out of Hand?,” Cardozo Arts & Entertainment Law Journal 3, no. 1 (1984): 12. See also Carol A. Ellingson, “The Copyright Exception for Derivative Works and the Scope of Utilization,” Indiana Law Journal 56, no. 1 (1980–1981): 14.
“Rajio: Rajiorebyū ‘Ochōfujin no gensō’ Shōchiku gakugeki-bu ga enshutsu suru, rebyūka sareta kageki,” Asahi Shinbun, February 17, 1933; “Shibai ‘Ochōfujin no gensō’ Shōchiku,” Yomiuri Shinbun, March 27, 1933.
“Tōkyō odori to Ochōfujin no gensō Shōchiku-za no shōjokageki o miru,” Asahi Shinbun, April 15, 1933; “Gurabia: Shōchiku shōjo kageki kōen, Ochōfujin no gensō,” Fujo-kai 47, no. 5 (May 1933): 44–45.
“Ochōfujin no gensō’ wa gensaku o hyōsetsu shingai: Mirano no churudei gakufu kaisha Shōchiku Kido jūyaku o uttau,” Kōbe Yūshin nippō, October 8, 1933. The article also mentions that a song “Berlin no musume” (probably Georg Kaiser’s 1918 “Das Frauenoper”) was also involved in the suit.
This was but one in a stream of suits and requests for fees increasingly levied by Plage’s Tokyo office over the course of the year. By the summer of 1932, the Plage office was working full tilt to obtain fees from the entire Japanese culture industry at large. He asked for a monthly fee of 600 yen in July 1932 from Nippon hōsō kyōkai (NHK, Japan Broadcasting Corporation), the national broadcaster, for copyright royalties for broadcasting the records of European composers and musicians, raising the fee the following summer to 1,500 yen. The cost ratio of playing Japanese music as opposed to foreign music was 6:15 yen, effectively halting the airing of foreign music on NHK between 1933 and 1934. Revisions to Japanese copyright law in 1934 enhanced the rights of phonograph record producers but did little to stop Plage from levying fees on performance. He continued to pursue copyright fees for the performance of European music, charging a fee of 5 yen per performance and between 1 and 1.5 yen per song, making it difficult for producers of such events to earn a profit. Sumio Iijima, “Musical Copyrights in Japan,” Bulletin of the Copyright Society of the U.S.A. 23 (1975): 401–3. See also Kawabata Shigeru, “The Japanese Record Industry,” Popular Music 10, no. 3 (October 1991): 343; Ōie Shigeo, Purāge senpū (Tokyo: Reibunsha, 1974); Itō Nobuo, Chosakken jiken to chosakken hanrei: Sokumen yori mita chosakken hattatsu-shi (Tokyo: Monbushō, 1968), 36–41.
In August 1931, the Takarazuka Kageki Revue produced Concise Madame Butterfly (Shukusatsu Chōchō-san). See Arthur Groos, “Introduction: The Takarazuka Concise Madame Butterfly,” Asia-Pacific Journal: Japan Focus 4, no. 14 (July 15, 2016): art. no. 7.
Ōie Shigeo, Purḡe senpu (Tokyo: Reibunsha, 1974), 7–9; Ōie Shigeo, Nippon chosakuken monogatari: Purāge hakase no tekihatsuroku (Tokyo: Seizansha, 1999), 62–63; Itō Nobuo, Chosakuken jiken hyakuwa: Sokumen kara mita chosakuken hattatsushi (Tokyo: Chosakuken Shiryō Kyōkai, 1976), 123–24; “Purāge senpū ni ‘kikyaku’ no bōfū-rin! Kido-shi ni gaika agaru,” Asahi Shinbun, December 29, 1936; “Chosaku kenpō o meguru Purāge mondai,” Gekkan gakufu 26, no. 2 (1937): 90–91.
See coverage in Ōie, Purāge senpu; Ōie, Nippon chosakuken monogatari; Itō, Chosakuken jiken hyakuwa. See also Yamashita Hiroaki, “‘Purāge senpū’ no hanashi,” Hōritsu shinbun, July 3 and 5, 1937; “Plage’s Copyright Case Is Rejected by Tokyo Court: Failed to Register Claims, Says Ruling of Long Pending Suit,” Japan Times, January 7, 1937.
“Hōkō o kaete sairai, Purāge no ‘tsumuji kaze,’ Shōchiku kageki o osou ‘ochōfujin’ ‘omoide’ ni soshō baishō: Kido Shōchiku senmu-dan,” Asahi Shinbun, March 16, 1937.
Ōie, Purāge Senpū, 22; Ōie, Nippon chosakuken monogatari, 50; Yamada Kōsaku, “Sakkyoku hōsōka no hihan,” Yomiuri Shinbun, June 16, 1932; “Yamada Koscak Leaves for Germany,” Japan Times, May 6, 1937.
Ōie, Purāge senpū, 26. See also Sumio, “Musical Copyrights in Japan,” 402.
“Copyright Body Formed; Group Has 28 Members,” Japan Times, July 17, 1935.
“Purāge no tegami: Berunu jōyaku dattai no hitsuyō,” Yomiuri Shinbun, September 24, 1936.
Christopher Heath and Kung-Chung Liu, eds., Copyright Law and the Information Society in Asia (New York: Oxford University Press, 2007).
Kunishio Kōichirō, “Chikuonki ‘Rekōdo’ no ensō to chosakuken,” Keisatsu kenkyū, December 1937.
See Best, Fugitive’s Properties.
Sumio, “Musical Copyrights in Japan,” 403.
Christopher Heath, “Intellectual Property and Anti-trust,” in History of Law in Japan since 1868, ed. Wilhelm Röhl (London: Brill, 2005), 506; Yoshimura Tamotsu, “Chūkai gyōmu-hō no ritsuansha: Kunishio Kōichirō,” in Nihon chosakken-shi (Tokyo: Daiichishobō, 1993), 187–209; Koji Okumura, “Collective Management of Copyright and Neighbouring Rights in Japan,” in Collective Management of Copyright and Related Rights (Alphen aan den Rijn, the Netherlands: Kluwer Law International, 2010), 384–85.
Mitsui, “Copyright and Music in Japan,” 138.
Wilhelm Plage, “More about Copyright,” Japan Times, April 5, 1940.
“Police Plague Plage on Copyright Law Suspended Suspected Violation,” Japan Times, March 29, 1940.
Sumio, “Musical Copyrights in Japan,” 403; “Chosakuken ni kansuru chūkaigyōmu ni kansuru hōritsu” [April 5, 1939], Nihon shuppan nenkan (Tokyo: Kyōdo Shuppansha, 1943), 1,094.
“Police to Probe Dr. Plage on Copyright Law,” Japan Times, March 25, 1940.
Irigaray, Speculum of the Other Woman, 251.
Kurumatani Hiroshi, “Nihon ga unda daiikkyū no sekai hito: Yūmei sugiru Miura Tamaki fujin,” Shokumin 12, no. 12 (1933): 140–43. See also the editorial comment in the May 19, 1920, Japan Times.
See Tanabe Hisayuki, “Jitensha tsūgaku,” in Kōshō Miura Tamaki (Tokyo: Kindai bungeisha, 1995), 39–44; Hiroshi Makoto, “Various Stages of the Japanese Conception of Beauty: Madame Tamaki,” Japan Times, May 19, 1929; “Nippon Day by Day: Recollections by Miura,” Japan Times, January 7, 1936. Also mentioned in the pamphlet from her June 1936 performance at the Kabuki-za, available at “‘Chōchōfujin’ Kabukiza (1936.6),” Zōsho mokuroku (blog), September 28, 2011, https://blog.goo.ne.jp/1971913/c/fb93b294f6765425392ab8aeeddc5e88.
“Orufoisu ensō-sha Yoshikawa ya ma, shibata tamaki, Miyawaki sen san jō shashin,” Bijutsu shinpō, August 1903, 2–11; “Tragedy of a Singer,” Japan Times, June 1, 1932.
Hara, “Death of Tamaki Miura,” 26.
Brian Burke-Gaffney, Starcrossed: A Biography of Madame Butterfly (Manchester, U.K.: EastBridge, 2004); Jan van Rij, Madame Butterfly: Japonisme, Puccini, & the Search for the Real Cho-Cho-San (San Francisco: Stone Bridge Press, 2001); Kusudo Yoshiaki and Noda Kazuko, Mō hitori no chōchōfujin: Nagasaki Gurabā-tei no on’na shujin tsuru (Tokyo: Mainichi shinbunsha, 1997).
“A Japanese ‘Madama Butterfly,’” Times (London), June 1, 1915.
“Kōkashu o eta sakkyokka Bu-shi wa fujin o yorokobi mukau,” Asahi Shinbun, April 25, 1920, morning edition, 9. See also “Madame Miura Meets Puccini,” Japan Times, April 27, 1920.
Tamaki, “Putchiini ni shōtai sarete,” 87–89 (emphasis added).
See Ayako Kano, “Japanese Theater and Imperialism,” US Japan Women’s Journal 12 (1997): 17; Margherita Long, This Perversion Called Love: Reading Tanizaki, Feminist Theory, and Freud (Stanford, Calif.: Stanford University Press, 2009) 3–4; Ueno Chizuko, “In the Feminine Guise: A Trap of Reverse Orientalism,” U.S.-Japan Women’s Journal 13 (1997): 3–25; Ueno Chizuko, “In the Feminine Guise: A Trap of Reverse Orientalism; Collapse of ‘Japanese Mothers,’” in Contemporary Japanese Thought (New York: Columbia University Press, 2005), 225–62.
Y. Soga, “The Orient in Hawaii,” Japan Times, October 20, 1929. For similar anecdotes, see Mari Yoshihara, “The Flight of the Japanese Butterfly: Orientalism, Nationalism, and Performances of Japanese Womanhood,” American Quarterly 56, no. 4 (2004): 984; Robert C. Lancefield, “Hearing Orientality in (White) America, 1900–1930” (PhD diss., Wesleyan University, 2004), 203.
“Madame Tamaki Miura, Japan’s pioneer opera singer, spoke in English over the radio on Wednesday which was relayed across the seas. The title of her talk was ‘From my Native Country: Nippon.’” “Miura Talks to the World,” Japan Times, November 23, 1935. Edward C. Moore, Forty Years of Opera in Chicago (New York: Horace Liveright, 1930), 302.
Tanabe Hisayuki, “Miura Tamaki denki shiryō kō: Tamaki no chosaku to Setouchi Harumi no Ochōfujin,” Tokoha Gakuen Tanki Daigaku kiyō 14, no. 31–45 (1982): 41. See also Itō Nobuo, Chosakuken jiken hyakuwa: Sokumen kara mita chosakuken hattatsushi (Tokyo: Chosakuken Shiryō Kyōkai, 1976), 157.
Hisayuki Tanabe, Kōshō Miura Tamaki=Madame Tamaki Miura (Tokyo: Kindai Bungeisha, 1995), 387.
Hara, “Death of Tamaki Miura.”
See Hara.
See Hara.
“Miura Sings for Slums,” Japan Times, December 18, 1935; “Tamaki Miura in Peru,” New York Times, October 26, 1919.
Japan Times, April 15, 1936; “Singers Confer on Organization of 1940 Chorus,” Japan Times, June 3, 1938.
Japan Times, April 6, 1923; Japan Times, September 10, 1932; “To Give Recital,” Japan Times, August 16, 1936.
“Threatening Letter Received by Miura,” Japan Times, September 12, 1922.
“Tamaki Miura Gets Letter Threatening Her Life If She Continues Concerts in Japan; Singer Wants to Return to Safety in the USA,” Japan Times, June 21, 1932, 1.
Japan Times, September 3, 1932; Sonoike Kin’naru, “Mosukuwa deatta Miura Tamaki fujin” (first published in Gekkan Gakufu, March 1933), in Sovueto engeki no inshō (Tokyo: Kensetsu-sha, 1933), 130–38.
“Tamaki Miura to Present Tea Set to Mussolini,” Japan Times, October 4, 1932; “Madame Miura to Sing Butterfly in Japanese,” Japan Times, January 13, 1937; Japan Times, November 7, 1937; “Miura Tamaki Will Sing at the Italian German Japanese Friendship Society’s Musicale in the Gunjin Kaikan on Nov 17,” Japan Times, November 22, 1937; Japan Times, December 4, 1937.
Japan Times, April 23, 1915; December 10, 1937; September 19, 1940.
Japan Times, December 6, 1935.
“Ochōfujin mo ‘Purāge-ka,’” Asahi Shinbun, June 19, 1937, 11.
Ibaraki no geinō-shi, ed. Ibaraki bunka dantai rengō (Mito, Japan: Ibaraki-ken kyōiku iinkai, 1977), 286.
Quotation translated in “Soprano Composes Music for Film,” Japan Times, March 31, 1940.
“Wadai no kagee eiga: ‘Ochōfujin no gensō’ Asahi eiga chikaku kōkai: Miura Tamaki, Nichigeki e,” Asahi Shinbun, April 18, 1940, 3. See also Itō Nobuo, Chosakken jiken to chosakken hanrei: Sokumen yori mita chosakken hattatsu-shi (Tokyo: Monbushō, 1968), 41.
Ōie Shigeo, Purḡe senpu (Tokyo: Reibunsha, 1974), 28; “Purāge shinsenpū: ‘Ochōfujin’ no jōen enki,” Asahi Shinbun, May 2, 1940, 2; “Manshū-san no purāge senpū kan joshi no ochōfujin jōen o enki,” Yomiuri Shinbun, May 2, 1940, 2; “‘Chōchōfujin’ wa chūshi,” Yomiuri Shinbun, May 2, 1940, evening ed., 3; “Copyright Suit Postpones Opera on Eve of Premiere as Plage Scores,” Japan Times, May 3, 1940.
Takebayashi Kenshichi, “Saikin wadai o tenbō su: ‘Ochōfujin’ to Purāge senpū,” Eiga Asahi (July 1940): 95–96. Takebayashi Kenshichi had long been a nom de plume of Naoki Sanjugo, who had been dead six years, so this was likely written by his compatriot Yokomitsu Riichi.
“More about Copyright: Letter from Wilhelm Plage,” Japan Times, April 5, 1940.
See Philip Towle, Margaret Kosuge, and Yoichi Kibata, Japanese Prisoners of War (New York: A&C Black, 2000), 131–32. See Hans Erik Pringsheim, “Copyright Law to Guard Authors: Government Agent,” Japan Times, March 24, 1940, 1; Wilhelm Plage, “More about Copyright,” Japan Times, April 5, 1940; Klaus Pringsheim, “Out of Tune,” Japan Times, April 7, 1940.
Miura Tamaki, Miura Tamaki: Ochō fujin, ed. Akimitsu Yoshimoto (Tokyo: Nihon Tosho Sentā, 1997), 95.
John Luther Long, “Madame Butterfly,” Century Magazine, January 1898, 375.
Arthur Groos, “Return of the Native: Japan in Madama Butterfly/Madama Butterfly in Japan,” Cambridge Opera Journal 1, no. 2 (July 1989): 170.
Groos, “Return of the Native,” 170.
See Irigaray, Speculum of the Other Woman, 255.
Moriguchi Tari and Hayashi Itoko, Bunkateki jūtaku no kenkyū (Tokyo: Arusu, 1922), 221.
See Marshall McLuhan’s phrase “windows on the world” and “Not many ages ago, glass windows were unknown luxuries. With light control by glass came also a means of controlling the regularity of domestic routine, and steady application to crafts and trade without regard to cold or rain. The world was put in a frame.” Marshall McLuhan, Understanding Media (Cambridge, Mass.: MIT Press, 1964), 204, 128. See Friedrich Kittler on windows from Leon Battista Alberti’s “finestra aperta” to MS Windows in Friedrich Kittler, Optical Media (Cambridge, Mass.: Polity Press, 2009), 56–83. Consider the importance of the train window or Alberti’s “open window” to Thomas Lamarre’s understanding of the anime machine in Thomas Lamarre, The Anime Machine: A Media Theory of Animation (Minneapolis: University of Minnesota Press, 2009), xv, 32. Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge, Mass.: MIT Press, 2006); Leon Battista Alberti, Leon Battista Alberti: On Painting (New York: Cambridge University Press, 2013); Helen M. Greenwald, “Picturing Cio-Cio-San: House, Screen, and Ceremony in Puccini’s Madama Butterfly,” Cambridge Opera Journal 12, no. 3 (2000): 237–59.
See Stacy Spies, Metuchen (Mount Pleasant, S.C.: Arcadia Publishing, 2000).
Antoinett Rehmann Perrett, “Simplicity in Suburban Home,” House and Garden 27 (June 1915): 416–18.
Melissa Eriko Poulsen, “Writing Madame Butterfly’s Child,” Amerasia Journal 43, no. 2 (2017): 162.
Félix Régamey, The Chrysantheme Papers: The Pink Notebook of Madame Chrysantheme and Other Documents of French Japonisme, trans. Christopher Reed (Honolulu: University of Hawai‘i Press, 2010).
On pierced walls of the cave, see Irigaray, Speculum of the Other Woman, 263.
“‘Madam Butterfly’ Opera [1906],” nos. 43.98.37 and 41.420.215, Byron Company Collection, Museum of the City of New York.
For information on the collection of cards, see Leopoldo Metlicovitz, “Envelope for the Series Madama Butterfly,” and especially “Pinkerton and Butterfly behind a Screen” (Milan: G. Ricordi & Co., 1904), accession nos. 2012.8388.1 and 2012.8388.2, Leonard A. Lauder collection, Museum of Fine Arts, Boston.
Mordaunt Hall, “A Charming Cho Cho San,” New York Times, December 26, 1932.
See Whitney Grace, “Lengthening Shadows,” in Lotte Reiniger: Pioneer of Film Animation (Jefferson, N.C.: McFarland, 2017), 18–28.
Karl Marx, Grundisse: Foundations of the Critique of Political Economy (New York: Penguin, 1973), 690–712; Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1993); Walter Benn Michaels, “The Myth of ‘Cultural Appropriation’: Even Our Own Stories Don’t Belong to Us,” Chronicle of Higher Education 63, no. 40 (July 2, 2017): https://www.chronicle.com/article/the-myth-of-cultural-appropriation/. See also Rosemary J. Coombe, The Cultural Life of Intellectual Properties: Authorship, Appropriation, and the Law (Durham, N.C.: Duke University Press, 1998).
Fukuzawa Yukichi was among the first in Japan to recognize the key role of copyright measures in the flourishing of the medium of books. Peter Francis Kornicki, The Book in Japan: A Cultural History from the Beginnings to the Nineteenth Century (Honolulu: University of Hawai‘i Press, 2001), 181, 242, 245–46; Fukuzawa Yukichi quoted in Kawakita Nobuo, “Fukuzawa Yukichi no shoki no chosakuken kakuritsu undō,” Kindai Nihon kenkyū 5 (1988): 28–29. See also Kurata Yoshihiro, Chosakken shiwa (Tokyo: Senrisha, 1980), 10; Fukuzawa Yukichi, Fukuzawa Yukichi zenshū, vol. 19 (Tokyo: Iwanamishoten, 1971), 449; Yoshimura Tamotsu, Hakkutsu Nihon chosakukenshi (Tokyo: Daiichi Shobō, 1993).
For a sequel covering subsequent Trouble’s future life, see the Sessue Hayakawa film His Birthright, directed by William Worthington (1918; Moraga, Calif.: Silent Hall of Fame Enterprises, 2015), DVD.
Michael Taussig, Mimesis and Alterity (New York: Routledge, 1993), xiii.
See Yasar, Electrified Voices.
Kawabata Shigeru, “The Japanese Record Industry,” Popular Music 10, no. 3 (October 1991): 327–45; Heath, “Intellectual Property and Anti-trust,” 505–6; Thomas Elsaesser and Malte Hagener, “Cinema as Ear: Acoustics and Space,” in Film Theory: An Introduction through the Senses (New York: Routledge, 2010), 157.
Collective administration of copyright is regulated by the Act on Management Business of Copyright and Neighbouring Rights (act no. 131 of November 29, 2000; hereafter Copyright Management Act). It replaced the Act on the Intermediary Business Concerning Copyright (1939). The Copyright Law from 1939 to 2000 aimed to break up monopolies and end the exploitation of users and creators by industry and JASRAC. Hisao Shiomi and Peter Ganea, “Copyright Contract Law,” in Japanese Copyright Law: Writings in Honour of Gerhard Schricker, ed. Peter Ganea, Christopher Heath, and Hiroshi Saitō (The Hague: Kluwer Law International, 2005), 89. Questions of intermediaries and copyright have returned to the fore with new media of the internet. See Paul Ganley, “Google Book Search: Fair Use, Fair Dealing, and the Case for Intermediary Copying,” SSRN, January 24, 2006, https://dx.doi.org/10.2139/ssrn.875384. YouTube has also removed nearly thirty thousand copyrighted files after receiving complaints of copyright infringement from the Japanese Society for Rights of Authors, Composers, and Publishers. Viacom International Inc. et al. v. YouTube Inc., YouTube LLC., and Google Inc. (Civ. 2103, 3582, S.D.N.Y. 2010); Matthew Rimmer, Digital Copyright and the Consumer Revolution (Northampton, Mass.: Edward Elgar Publishing, 2007), 254.
Nishimura Ayano and Siio Itiro, “Contexinger: Nichijō no kontekusuto o torikomi utau Volcaloid,” Jōhōshorigakkai kenkyū hōkoku 38, no. 9 (2013): 1–6.
4. Copycat Rivalries
Namekawa Michio, Terebi to kodomo (Tokyo: Maki shobō, 1961), 18; Shimotsuki Jūkurō, “Issei o fūbi shita terebi bangumi ‘Gekkō kamen,’” in Omoide wa terebihīrō to tomoni: Boku-ra ga sodatta 1960-nendai (Tokyo: Bungei-sha, 2006), 60. A sample English-subtitled version of Gekkō kamen was sent to the United States to see if the series could be sold there and occasionally is posted to the web today. “‘Gekkō kamen’ mo mihonban, chikaku yushutsu,” Asahi, May 3, 1959, Tokyo morning ed.; Osaki Teizō, Showa kodomo bumu (Tokyo: Gakushu kenkyusha, 2010); “‘Chısai Gekko kamen’: Tsui muchu de tobi oriru,” Yomiuri Shinbun, June 19, 1959, morning ed.; “Gekko kamen gokko de gakudo kega: Yane kara ochi,” Yomiuri Shinbun, June 19, 1959, morning ed., 11.
See, for instance, “Asatte wa shichigosan ryūkō-fuku wa terebi no ninkisha,” Yomiuri Shinbun, November 13, 1958, evening ed.
Ochi Masanori, “Taikenteki terebi-ron,” Jiyū 6 (1978): 145–51.
Simon Partner, Assembled in Japan: Electrical Goods and the Making of the Japanese Consumer (Berkeley: University of California Press, 2000).
See, for instance, Ōya Sōichi quoted in Jayson Makoto Chun, “A Nation of a Hundred Million Idiots”? A Social History of Japanese Television, 1953–1973 (New York: Routledge, 2007), 3.
Paul Dumouchel, “Indifference and Envy: Girard and the Anthropological Analysis of Modern Economy,” in The Ambivalence of Scarcity and Other Essays (East Lansing: Michigan State University Press, 2014), 149–60; George Erving, “René Girard and the Legacy of Alexandre Kojeve,” Contagion: Journal of Violence, Mimesis, and Culture 10, no. 1 (2003): 111–25.
René Girard, “Innovation and Repetition,” SubStance 19, no. 2/3 (1990): 7–20.
Joel Hodge, “Superheroes, Scapegoats, and Saviors: The Problem of Evil and the Need for Redemption,” in Violence, Desire, and the Sacred, vol. 3, Mimesis, Movies, and Media, ed. Scott Cowdell, Chris Fleming, and Joel Hodge (New York: Bloomsbury, 2016), 66.
René Girard, Violence and the Sacred (London: A&C Black, 2005); René Girard, Things Hidden since the Foundation of the World, trans. Jean-Michel Oughourlian and Guy Lefort (Stanford, Calif.: Stanford University Press, 1987).
René Girard, A Theatre of Envy: William Shakespeare (Leominster, U.K.: Gracewing Publishing, 2000); René Girard, Myth and Ritual in Shakespeare: A Midsummer Night’s Dream (Stanford, Calif.: Stanford University Press, 1973); René Girard, To Double Business Bound: Essays on Literature, Mimesis, and Anthropology (Baltimore: Johns Hopkins University Press, 1988); René Girard, Oedipus Unbound: Selected Writings on Rivalry and Desire, ed. Mark Rogin Anspach (Stanford, Calif.: Stanford University Press, 2004); René Girard, Mimesis and Theory: Essays on Literature and Criticism, 1953–2005, ed. Robert Doran (Stanford, Calif.: Stanford University Press, 2008).
See Michael Lucken, Imitation and Creativity in Japanese Arts: From Kishida Ryusei to Miyazaki Hayao (New York: Columbia University Press, 2016), chap. 2.
Hagiwara Sakutarō, “Mohōsha ni yotte haradatashiku sareru,” in Hagiwara Sakutarō zenshū, vol. 4 (Tokyo: Chikuma shobō, 1975), 210–11.
See Lucken, Imitation and Creativity in Japanese Arts.
Richard H. Okada, Figures of Resistance: Language, Poetry, and Narrating in “The Tale of the Genji” and Other Mid-Heian Texts (Durham, N.C.: Duke University Press, 1991).
Rein Raud, “Chinese Calligraphic Models in Heian Japan: Copying Practices and Stylistic Transmission,” in The Culture of Copying in Japan: Critical and Historical Perspectives, ed. Rupert Cox, 143–55 (New York: Routledge, 2007).
Steven T. Brown, Theatricalities of Power: The Cultural Politics of Noh (Stanford, Calif.: Stanford University Press, 2001), 21.
Zeami, “A Mirror Held to the Flower (Kakyō)” and “The Aesthetics of Ambiguity: The Artistic Theories of Zeami,” in On the Art of the No Drama: The Major Treatises of Zeami, ed. Yamazaki Masakazu and J. Thomas Rimer (Princeton, N.J.: Princeton University Press, 1984), 158, xxix–xlv; Mark J. Nearman, “Kakyō: Zeami’s Fundamental Principles of Acting,” Monumenta Nipponica 37, no. 3 (1982): 333–42; “Kakyō: Zeami’s Fundamental Principles of Acting (Part Two),” Monumenta Nipponica 37, no. 4 (1982): 459–96; “Kakyō: Zeami’s Fundamental Principles of Acting. Part Three,” Monumenta Nipponica 38, no. 1 (1983): 49–71.
Aristotle, The Poetics of Aristotle, trans. Preston H. Epps, II:6 (Chapel Hill: University of North Carolina Press, 2010), 11.1448b4–17.
Abe Kōbō, “Monomane ni tsuite: Hitotsu no kigeki eiga-ron,” Eiga geijutsu (December 1957): 24.
Abe, “Monomane ni tsuite,” 25.
Abe quotes Karl Marx, Grundrisse: Foundations of the Critique of Political Economy (New York: Penguin, 2005), 110.
Peter Cotes and Thelma Niklaus, The Little Fellow (New York: Philosophical Library, 1965), 7.
Ōoka Shōhei, “Monomane geijutsu mō kekkō,” Geijutsu shinchō 10, no. 5 (May 1959): 114–21.
Ōoka, “Monomane geijutsu mō kekkō,” 118.
Ōoka, 115.
Takahashi Yoshitaka, “Zeami no ‘monomane’ to Yōroppa-teki mimēshisu,” in Takahashi Yoshitaka bungei riron chosaku-shū-ka (Tokyo: Jinbunshoin, 1977), 158.
Takahashi, “Zeami no ‘monomane,’” 161.
Takahashi, 161.
Takahashi, 162.
Paraphrasing Wolfgang Palaver, René Girard’s Mimetic Theory (East Lansing: Michigan State University Press, 2013), 149. See also Girard, Violence and the Sacred, 166–68; Things Hidden, 35; Theatre of Envy, 61–62.
Mamoru Sasaki, Neon Sain to Gekko Kamen: Senkosha Kobayashi Toshio No Shigoto (Tokyo: Chikuma Shobo, 2005).
“Taun (Terebi): Gekkō kamen yomigaeru? Yume yo mōichido no ichi tenkei,” Shūkan shinchō 7, no. 30 (July 1962): 19.
Sasaki Mamoru, Sengo hīrō no shōzō: “Kane no naru oka” kara “Urutoraman” e (Tokyo: Iwanami Shoten, 2003), 122, 148–49.
Thomas V. Morris, “What’s behind the Mask?,” in Superheroes and Philosophy: Truth, Justice, and the Socratic Way, ed. Thomas V. Morris, Matt Morris, and William Irwin, 250–67 (Chicago: Open Court Publishing, 2005).
Joel Hodge, “Superheroes, Scapegoats, and Saviors: The Problem of Evil and the Need for Redemption,” in Violence, Desire, and the Sacred, vol. 3, Mimesis, Movies, and Media, ed. Scott Cowdell, Chris Fleming, and Joel Hodge (New York: Bloomsbury, 2015), 62.
Sasaki, Neon Sain to Gekko Kamen, 109–10.
Tzvetan Todorov, The Fantastic: A Structural Approach to a Literary Genre (Ithaca, N.Y.: Cornell University Press, 1975), 63 (emphasis added).
Takahashi Yasuo, “Gekkō kamen wa daredeshō? Terebi eiga ‘Gekkō kamen’-ron moshikuwa seigi-ron,” Sapporodaigaku sōgō ronsō 9 (March 2000): 238.
Kawauchi Kōhan (a.k.a. Yasunori), Gekko kamen: Kawauchikōhan gekkō kamen (Tokyo: Nanōsha, 1958), 1, 275–76.
Kōhan Kawauchi, Ofukurosanyo (Tokyo: Magajinhausu, 2007), 42–45.
Cited in Sasaki, Neon Sain to Gekko Kamen, 108.
Maria Burnett, Open Secret: Illegal Detention and Torture by the Joint Anti-terrorism Task Force in Uganda (New York: Human Rights Watch, 2009); Carlos Gamerro, An Open Secret (South Royalton, Vt.: Steerforth Press, 2011).
Eric P. Nash, Manga Kamishibai: The Art of Japanese Paper Theater (New York: Harry N. Abrams, 2009).
Although this scene of filmic superimposition following Gekkō Kamen’s presumed demise is absent from the October 1958 manga version, the feeling remains in the title of the episode, which remains “Justice Does Not Die [Seigi wa shinazu].” Kuwata Jirō and Kōhan Kawauchi, Gekkō Kamen: Kanzenban seigi no shō (Tokyo: Manga Shoppu, 2009), 62–76.
Frantz Fanon, Black Skin, White Masks (New York: Penguin Books, 2020).
Terada Seiichi, Hanzai shinri kōwa (Tokyo: Shinri-gaku kenkyūkai, 1918).
Terada, Hanzai shinri kōwa, 386–95.
Aaron Andrew Gerow, Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895–1925 (Berkeley: University of California Press, 2010), 53–64.
“Bōryoku bamen no tsuihō o hatajirushi ni,” Yomiuri Shinbun, July 3, 1960, evening ed.; Hidaka Ichirō, Nihon no hōsō no Ayumi (Tokyo: Ningen no kagakusha, 1991), 184.
“Shin bangumi o happyō terebi kara bōryoku bamen tsuihō,” Yomiuri Shinbun, June 22, 1960; “Bōryoku bamen no tsuihō o hatajirushi ni,” Yomiuri Shinbun, July 3, 1960, evening ed.
Bruce Suttmeier, “Assassination on the Small Screen: Images and Writing in Oe Kenzaburo,” Mosaic: An Interdisciplinary Critical Journal 41, no. 2 (June 2008): 75–91.
Shimizu Ikitarō, “Terebijon jidai,” Shisō 9 (November 1958): 359.
Shimizu writes, “The more advanced the media, the more likely it is to be conservative or reactive.” Quoted in Yokoyama Shigeru, “Datsu terebi jidai no tōrai: Shimizu Ikutarō no ronjita terebi to shakai, han seiki-go no saihō,” NHK hōsō bunka kenkyūjo nenpō (Tokyo: Nippon Hōsō Kyōkai 2008), 203. See also Shun’ya Yoshimi, “From Street Corner to Living Room: Domestication of TV Culture and National Time/Narrative,” trans. Jodie Beck, Mechademia 9 (2014): 126–42; Aaron Gerow, “From Film to Television: Early Theories of Television in Japan,” in Media Theory in Japan, ed. Marc Steinberg and Alexander Zahlten, 33–51 (Durham, N.C.: Duke University Press, 2018).
Namekawa Michio, Terebi to kodomo (Tokyo: Maki shoten, 1961).
Namekawa, Terebi to kodomo, 18, 144, 154.
Namekawa, 51.
Namekawa, 280.
Namekawa, 48, 110.
Namekawa, 240. See also Yomigaeru Shōwa kodomo shinbun: Shōwa 21-nen—Shōwa 37-nen-hen (Tokyo: Shōwa kodomo shinbun hensan iinkai Nihonbungeisha, 2007), 131.
Namekawa, Terebi to kodomo, 194.
Roger Caillois, Man, Play, and Games, trans. Meyer Barash (Chicago: University of Illinois Press, 1961), 120.
“Kodomo no asobi: Chīsai ‘gekkō kamen’ tsui muchū de tobioriru,” Yomiuri Shinbun, June 15, 1959, 9.
Hamaya Hiroshi, Hito to mono 9 (Tokyo: Mujirushi, 2018), 80–81.
See “Takeda yakuhin gekkō kamen arinamin CM 4,” Senkōsha fotonikuru Tokuten eizō 3 CM sakuhin-shū (Tokyo: Senkōsha, 2015), DVD.
See “CM3 Takeda yakuhin gekkō kamen arinamin” and “CM 4; Takeda yakuhin panbitan CM,” Nobuhiro-sha fotonikuru (zuroku) (Tokyo: Bikutā Entateinmento, 2015), DVD.
There were at least four different giveaway tie-in cardboard masks with cellophane for sunglasses that circulated during the run of the show. These can occasionally be found on sale today at https://page.auctions.yahoo.co.jp under searches for “Gekkō kamen Takeda yakuhin kōgyō.”
“PanVitan Perē: Takeda Yakuhin kōgyō,” Yomiuri Shinbun, March 24, 1959, evening ed.
Hanada Kiyoteru, “Kamen no hyōjō,” Gunzō (March 1949): 1–9; Susan Jolliffe Napier, Escape from the Wasteland: Romanticism and Realism in the Fiction of Mishima Yukio and Oe Kenzaburo (Cambridge, Mass.: Harvard University Press Asia Center, 1995), 230; Noriko Mizuta Lippit, Reality and Fiction in Modern Japanese Literature (White Plains, N.Y.: M. E. Sharpe, 1980), 181–83.
Hanada, “Kamen no hyōjō,” 4–5.
Paraphrasing Wolfgang Palaver, René Girard’s Mimetic Theory (East Lansing: Michigan State University Press, 2013), 149.
Tanigawa Ken’ichi, Tanigawa ken’ichi zenshū, vol. 12 (Tokyo: Fusanbō intānashonaru, 2006), 97.
Matsumoto Toshio, “Kamen kō,” in Genshi no bigaku (Tokyo: Firumu Ātosha, 1976), 259.
Matsumoto, “Kamen kō,” 259.
Matsumoto, 254. See Atsuko Sakaki, “Scratch the Surface, Film the Face: Obsession with the Depth and Seduction of the Surface in Abe Kōbō’s The Face of Another,” Japan Forum 17, no. 3 (November 1, 2005): 386n14.
Matsumoto, “Kamen kō,” 262.
Agnes Horvath, Modernism and Charisma (New York: Palgrave Springer, 2013), 16.
See Thomas Lamarre, The Anime Ecology: A Genealogy of Television, Animation, and Game Media (Minneapolis: University of Minnesota Press, 2018), 41, 42. See also Kurosawa Kiyoshi’s Kairo (2001) and Hideo Nakata’s Ringu (1998).
Lamarre, Anime Ecology, 245.
Leo Ching, “Empire’s Afterlife: The ‘South’ of Japan and ‘Asian’ Heroes in Popular Culture,” Global South 5, no. 1 (September 2, 2011): 85–100; Leo Ching, “Champion of Justice: How Asian Heroes Saved Japanese Imperialism,” PMLA 126, no. 3 (May 2011): 644–50; Higuchi Naofumi, “Gekkō kamen” o tsukutta otokotachi, Heibonsha shinsho, vol. 435 (Tokyo: Heibonsha, 2008), 35–71. See discussion of “liveness” in Lamarre, Anime Ecology. This format could be a precursor to the V-cinema discussed in Alexander Zahlten, The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies (Durham, N.C.: Duke University Press, 2017).
“Terebi no ‘kiken-sei’ PR wo,” Yomiuri Shinbun, October 12, 1962.
Similar images of the tower in mid-construction can be seen in the opening credits of the 2005 nostalgia film Always: Sunset on Third Street (Ōruweizu: San-chōme no Yūhi) directed by Yamazaki Takashi.
“Gekkō kamen de wa arimasen,” Yomiuri Shinbun, November 12, 1959, evening ed.
“‘Gekkō kamen daiyaku tsukamaru: Tonai to Nagoya de akadenwa arashi,” Yomiuri Shinbun, May 21, 1959; “Young TV ‘Cop’ Turns Out to Be Crook in Real Life,” Japan Times, May 22, 1959.
“Nichiyō no asa, ginkō ni gōtō: Ikebukuro ni ‘Gekkō kamen’: Shukuchoku ni kamitsukare tōsō,” Yomiuri Shinbun, September 20, 1959, evening ed.
See Gekkō Kamen in Jonathan E. Abel, “Masked Justice: Allegories of the Superhero in Cold War Japan,” Japan Forum 26, no. 2 (2014): 187–208; “Miike ryūketsu kaihi,” Chūnichi nyūsu (Tokyo: Chunichieigasha, July 29, 1960), 341:1, available at http://chunichieigasha.co.jp/video/4706/.
“Osorubeki rōteīn: Sore o umidashita no wa nani ka eiga ya terebi o mohō,” Asahi Shinbun, February 20, 1963, evening ed.
Martin Heidegger, Introduction to Metaphysics (New Haven, Conn.: Yale University Press, 2014), 38.
See Yasunaga Eitarō, “Enoki Misako: Ippuippu-sei o mamoru Gekkō kamen,” Gendai no me 16, no. 10 (October 1975): 274–81.
Ozu Yasujirō’s Ohayo (1960).
Hanada Kiyoteru, “Seigi no mikata; Gekkō Kamen!! Oshima Nagisa-ron,” Eiga hyōron (September 1960): 16–19.
Hanada, “Kamen no hyōjō.”
Steve Clark Ridgeley, Japanese Counterculture: The Antiestablishment Art of Terayama Shuji (Minneapolis: University of Minnesota Press, 2010).
Terayama Shūji, “Chısai kyozo 13: Gekkō Kamen,” Shukan Asahi Janaru (April 6, 1973): 51–53.
Kaneko Masaru, Gekkō Kamen no keizaigaku: Saraba musekinin shakai yo (Tokyo: Asahi bunko, 2004).
Terashima Jitsurō, “Nōryoku no ressun: Akadō suzunosuke to Gekkō Kamen: Toikake to shite no sengonihon,” Sekai (January 2010): 41–43.
“‘Gekko kamen’ de seiji katsudo no dansei byoshi,” Shakai nyusu, March 16, 2006.
See Tsujiyama Kiyoshi, Tsujiyama Kiyoshi: Shōhizei hantaitō, accessed August 31, 2012, https://geocities.co.jp/Milkyway-Vega/6529/kiyosi.html.
Akatsuka Yukio, “‘Mohō hanzai’ to wadai-ka,” Ushio 237, no. 2 (1979): 182.
For the terrorist spectacles, consider at least the Japanese Red Army incidents of Asama-Sansō (Asama sansō jiken) and Lod Airport of 1972, the Morinaga Glico Incidents (Guriko, Morinaga jiken, 1984–85), the 1995 Aum Shinrikyō sarin gas attacks on the Tokyo subway, and the copycat hijacking of All Nippon Airways Flight 857 in 1995. Lone-wolf incidents include Miyazaki Tsutomu in mid-1980s, the killing spree in Akihabara (Akihabara Tōrima Jiken) of 2008, and the arson attack on anime studio Kyoto in 2019.
Miyabe Miyuki, Mohōhan, vol. 5 (Tokyo: Shinchōsha, 2005); Miyabe Miyuki, Puppet Master, trans. Ginny Tapley Takemori (Tokyo: Creek & River Co., 2014–2016).
5. Interpassive Ecomimesis
Robert Pfaller, Interpassivity: The Aesthetics of Delegated Enjoyment (Edinburgh: Edinburgh University Press, 2017).
Jordan Pruett, “On Feeling Productive: Videogames and Superfluous Labor,” Theory & Event 22, no. 2 (2019): 402–16.
Pfaller, Interpassivity, 12.
Pfaller, 18–19.
Yoshioka Hiroshi, “Taidan: Mycom gēmu sōseiki o oete,” in Gēmuka suru sekai: Konpyūta gēmu no kigōron, ed. Nihon Kigō Gakkai Taikai, Sōsho semiotoposu 8 (Tokyo: Shin’yōsha, 2013), 49.
Keiko McDonald, “Family, Education, and Postmodern Society: Yoshimitsu Morita’s The Family Game,” East-West Film Journal 4, no. 1 (December 1989): 63; Keiko I. McDonald, Reading a Japanese Film: Cinema in Context (Honolulu: University of Hawai‘i Press, 2005), 146; Aaron Gerow, “Playing with Postmodernism: Morita Yoshimitsu’s Family Game,” in Japanese Cinema: Texts and Contexts, ed. Alastair Phillips and Julian Stringer (New York: Routledge, 2007), 247; Ian Buruma, “Humor in Japanese Cinema,” East-West Film Journal 2, no. 1 (December 1987): 26–32; Satō Tadao, “Tokyo on Film,” East-West Film Journal 2, no. 2 (June 1988): 1–12.
See also “Ko-shoku ichimi shichimi,” Asahi Shinbun, November 20 1981; “Mune tsuka reta `ko-shoku no sabishisa’ hitotoki,” Asahi Shinbun, December 20, 1981; Wada Shigeaki, Kyū Eikan, and Hasegawa Keitarō, “Ima ko-shoku no jidai’dakara (jōhō nan demo sōdan-shitsu),” Chūō kōron 98, no. 5 (May 1983).
Uemura Masayuki, Hosoi Kōichi, and Nakamura Akinori, Famikon to sono jidai: Terebi gēmu no tanjō (Tokyo: NTT Shuppan, 2013), 110–11.
It is likely not simply random that hockey is the game featured in the film. As Picard mentions, hockey was one of the earliest video games on a console in Japan, beginning in 1973 with Taito’s clone Pro Hockey. See Martin Picard, “The Foundation of Geemu: A Brief History of Early Japanese Video Games,” Game Studies 13, no. 2 (December 2013), http://gamestudies.org/1302/articles/picard.
Ryu Nihon no, “CM aisu hokkē – famikon disuku shisutemu,” June 30, 2021, YouTube video, 0:29, https://www.youtube.com/watch?v=qha_J_0P0Zo. Also at Kinjo Game Channel, “1987 Nintendo (NES) ICE HOCKEY Commercial Message,” January 25, 2022, YouTube video, 0:30, https://www.youtube.com/watch?v=-UOOYY41Y70.
Marshall McLuhan, Understanding Media: The Extensions of Man (Cambridge, Mass.: MIT Press, 1994).
Gil Friend, “Ecomimesis: Copying Ecosystems for Fun and Profit,” New Bottom Line 5, no. 4 (February 14, 1996), https://natlogic.com/resources/publications/new-bottom-line/vol5/4-ecomimesis-copying-ecosystems-fun-profit/.
Timothy Morton, Ecology without Nature: Rethinking Environmental Aesthetics (Cambridge, Mass.: Harvard University Press, 2007).
Alenda Y. Chang, “Games as Environmental Texts,” Qui Parle 19, no. 2 (2011): 63.
Timothy Morton, Dark Ecology: For a Logic of Future Coexistence (New York: Columbia University Press, 2016).
For a graphic representation of the double helix structure, see Takano Yashuhiro, “Murakami Haruki ‘Sekai no owari to hādoboirudo wandārando,’” Bungaku sakuhin o yomu (blog), 2006, http://www005.upp.so-net.ne.jp/Kaede02/sakuhin2/sekai_hard.html.
Murakami Haruki, Murakami haruki zen sakuhin, 1979—1989: Sekai no owari to hādoboirudowandārando (Tokyo: Kōdansha, 1990), 519. Translation modified from and emphasis added to Murakami Haruki, Hard-Boiled Wonderland and the End of the World, trans. Alfred Birnbaum (New York: Vintage, 1993), 353.
See also Haruki Murakami, Pinball, 1973, trans. Alfred Birnbaum (Tokyo: Kodansha, 1985), 12.
Karin Wenz, “Death,” in The Routledge Companion to Video Game Studies, ed. Mark J. P. Wolf and Bernard Perron (New York: Routledge, 2014), 311.
Betsuyaku Minoru, “‘Nerima OL satsujin jiken’: Ochikochi-hō o sōshitsu shita hanzai-sha,” Chūō kōron 98, no. 12 (November 1983): 267–73; Betsuyaku Minoru, “Tokushū = eiga eizō kara bungaku e: Miru koto no ochikochi-hō,” Kaie: Atarashī bungaku no techō 4 (April 1979); Betsuyaku Minoru, “Chūkei no sōshitsu [The Loss of a Middle Ground],” in Uma ni notta Tange Sazen (Tokyo: Libroport, 1986), 10–13; Betsuyaku Minoru, “‘Chūkei’ toshite no Ajia,” Tokushū Higeki kigeki: Watashi no naka no Ajia 43, no. 3 (1990): 14–16; Betsuyaku Minoru, “Atetsuke hanzai no kozu’ bosei,” in “Bosei” no hanran: Heisei hanzai jikenbo (Tokyo: Chūō kōron shinsha, 2002), 76–77. See John Whittier Treat, Writing Ground Zero: Japanese Literature and the Atomic Bomb (Chicago: University of Chicago Press, 1995), 64.
See Kasai Kiyoshi, “Hyōron shakai ryōiki no shōshitsu to ‘sekai’ no kōzō (Tokushū posuto-raitonoberu no jidai e),” Shōsetsu tripper: Janru o asobu ’torippa, March 2005, 35–43; Kasai Kiyoshi, Tantei shōsetsu wa ‘sekai’ to sōgū shita (Tokyo: Nan’undō, 2008), 65; Kasai Kiyoshi, “Sekaikei to reigai jōtai,” in Shakai wa sonzai shinai: Sekaikei bunkaron, ed. Genkai shōsetsu Kenkyūjo, 21–62 (Tokyo: Nan’undō, 2009).
Maejima Satoshi, Sekai-kei to wa nani ka: Posuto-Evua no otaku-shi (Tokyo: Seikai-sha, 2014); Azuma Hiroki, Nipponteki sōzō-ryoku no mirai: Kūru japanorojī no kanōsei (Tokyo: Nippon hōsō shuppankyōkai, 2010); Tamaki Saitō, Beautiful Fighting Girl (Minneapolis: University of Minnesota Press, 2011).
Uno Tsunehiro, Zero-nendai no sōzō-ryoku (Tokyo: Hayakawa shobō, 2008); Christopher Howard, “The Ethics of Sekai-Kei: Reading Hiroki Azuma with Slavoj Žižek,” Science Fiction Film and Television 7, no. 3 (November 8, 2014): 365–86.
Famiutsu ekkusu bokkusu henshū-bu, ed., Shutainzu gēto kōshiki shiryōshū (Tokyo: Entāburein, 2010), 120. All of the Science Adventure series games share the odd semicolon with Steins;Gate: Chaos;Head, Robotics;Notes, Chaos;Child. The semicolon evokes something like the geeky language of leetspeak, thereby creating a culture of those in the know and those outside it. Here the semicolon evokes the world of coding in which the symbol often is used as a “statement separator” or a mark for separate axes in a multidimensional array. So the mark is there less as a semantic marker than as a symbol evoking the world of computing and, by proxy, science.
Famiutsu ekkusu bokkusu henshū-bu, Shutainzu gēto kōshiki shiryōshū, 12–113. See also “Steins;Gate roke-chi tansaku,” Studio Rei (blog), http://studio-ray.jp/blog/?p=674; “Seichi junrei: Shutainzugēto-hen,” Hippocampus (blog), http://blog.livedoor.jp/peko_74-imas/archives/2926767.html; and especially the geotagged map on “‘Shutainzugēto’ butai tanbō (seichi junrei) matome,” Sōda, seichi ni ikou (blog), http://blog.livedoor.jp/seichijunrei/archives/cat_50049220.html.
See Otanews and Torabo websites at http://otanews.livedoor.biz/archives/ and http://nlab.itmedia.co.jp/nl/articles/.
Matsubara Tatsuya and Hayashi Naotaka, “Namida no ‘fōntorigāshisutemu’ tanjō hiwago e Mon ‘kami gē’ to wadai futtō! Ekkusubokkusu 360 ‘Shutainzu gēto’ chō ronguintabyū keisai,” Dengeki onrain, http://dengekionline.com/elem/000/000/212/212275/index-3.html. See a similar use of trigger in Kazuhito Shiratori, Masao Hase, and Hoshino Junichi, “Kankyō jōhō o han’ei saseta kontekusuto awuea na gēmu,” Shadan hōjin Jōhōshori gakkai kenkyū hōkoku IPSJ SIG Technical Reports 18 (2007): 17–23.
J. David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, Mass.: MIT Press, 1999).
This frequency analysis was based on a text extraction of the entire corpus of the Xbox edition.
Ueno Chizuko, “Kaisetsu,” in Etō Jun, Seijuku to sōshitsu “haha” no hōkai (Tokyo: Kōdansha bungeibunko, 1993). See also Ann Sherif, “The Politics of Loss: On Eto Jun,” positions: east asia cultures critique 10, no. 1 (2002): 111–39.
Asada Akira, “Infantile Capitalism and Japan’s Postmodernism,” South Atlantic Quarterly 87 (1988): 629–34; Anne Allison, Permitted and Prohibited Desires: Mothers, Comics, and Censorship in Japan (Berkeley: University of California Press, 2000); Niwa Akiko and Tomiko Yoda, “The Formation of the Myth of Motherhood in Japan,” U.S.–Japan Women’s Journal, English Supplement, no. 4 (1993): 70–82; Tomiko Yoda, “The Rise and Fall of Maternal Society: Gender, Labor, and Capital in Contemporary Japan,” South Atlantic Quarterly 99, no. 4 (October 1, 2000): 865–902; Uno Tsunehiro, Bosei no disutopia (Tokyo: Shūeisha, 2017); Ōtsuka Eiji, Shōjo Minzokugaku: Seikimatsu no shinwa o tsumugumi konomatsuei (Tokyo: Kobunsha, 1989); Ōtsuka Eiji, “Enjo kōsai to rekishi kara no tōsō,” Ronza (July 1997): 30–35; Ōtsuka Eiji, Etō Jun to shōjo feminism-teki sengo subculture bungakuron (Tokyo: Chikuma Shobō, 1998).
See also the discussion of family in Rachael Hutchinson, Japanese Culture through Videogames (New York: Routledge, 2019).
See YouTube interviews of Bose (a.k.a. Koshima Makaoto) and Itoi Shigesato, “M1+2 Event (subtitled),” Starmen.Net Youtube, June 7, 2007, YouTube video, 9:45, https://www.youtube.com/watch?v=lKpaKlatg5M; see also “Mother - Famicom (1989), Game Boy Advance (2003),” Hardcore Gaming 101, http://hg101.kontek.net/mother/mother1.htm.
“Shutage ren’ai ron: Chichi to musume, Soshite musume o ubau yoso no otoko,” Itagome: Otomege Reviews, May 8, 2017, http://itagome.jugem.jp/?eid=245.
“Netabare: Amane-ka kakei-zu,” Shutainzu gēto, http://zugtierlaster56.rssing.com/chan-26939252/latest.php.
See the collection of tweets archived by @muneyakecirno under the title “Steins;Gate no rabomen o kazoku, SERN o shakai to okikaeru to,” January 11, 2010, at https://togetter.com/li/3031.
Uno Tsunehiro, “Reipu fantajī no seiritsu jōken—shōjo gensō o meguru yasuhiko yoshikazu-ron,” Yuriika = Eureka 27, no. 11 (September 2007): 106–10.
Uno, Zero-nendai no sōzō-ryoku, 271.
Okawada Akira, “Gēmu risuto,” in Sabukaruchā sensō: “Sekaikei” kara “sekai naisen” e, ed. Genkai Shōsetsu Kenkyūkai, 372–76 (Tokyo: Nan’undō, 2010).
See Tsuchimoto Ariko, “Kakū no bishōjo ni takusa reta kyōdō gensō!,” in Otaku no hon (Tokyo: JICC Shuppankyoku, 1989), 103–15; Ueno Chizuko, “Rorikon to ya oi-zoku ni mirai wa aru ka!?,” in Otaku no hon (Tokyo: JICC Shuppankyoku, 1989), 130–34; Betsuyaku Minoru, “Atetsuke hanzai no kōzu’ bosei,’” in “Bosei” no hanran: Heisei hanzai jikenbo (Tokyo: Chūō Kōron Shinsha, 2002), 76–77; Kasai Kiyoshi, “Hyōron shakai ryōiki no shoshitsu to ‘sekai’ no kōzō (tokushu posutoraitonoberu no jidai e),” Shosetsu tripper: Janru o asobu ’torippa (2005): 35–43; Kurose Yōhei, “Kyarakutā ga, mite iru: Anime hyōgen-ron josetsu,” NHK bukkusu bekkan Shisō chizu, ed. Azuma Hiroki and Kitada Akihiro, 1 (April 2008): 459–60.
Maejima pointedly asks “whether sekai-kei is in a co-dependent relationship with criticism.” Maejima Satoshi and Nishijima Daisuke, Sekaikei to wa nani ka (Tokyo: Sofutobank bunko, 2014), 198.
Dani Cavallaro, Anime and the Visual Novel: Narrative Structure, Design, and Play at the Crossroads of Animation and Computer Games (Jefferson, N.C.: McFarland, 2010).
Azuma Hiroki, Gēmu-teki riarizumu no tanjō: Dōbutsu-ka suru posuto modan 2 (Tokyo: Kōdansha, 2007), 271.
Viktor Shklovsky, “Art as Technique,” in Russian Formalist Criticism, ed. L. T. Lemon and M. Reis, 3–57 (Lincoln: University of Nebraska Press, 1965).
Azuma, Gēmu-teki riarizumu no tanjō, 181.
See Jesper Juul, “A Clash between Game and Narrative,” and “The Player and the Game,” at www.jesperjuul.net/.
Lubomír Doležel, Heterocosmica: Fiction and Possible Worlds (Baltimore: Johns Hopkins University Press, 1998), 21.
Nick Montfort, Twisty Little Passages: An Approach to Interactive Fiction (Cambridge, Mass.: MIT Press, 2005), vii. The game itself is a parody of the post-Tamagotchi wave Shīman (1999), the virtual pet game that featured a talking carp-like fish with a human head and included a microphone in its original sales package.
Montfort, Twisty Little Passages, 3–4.
N. Katherine Hayles, Electronic Literature: New Horizons for the Literary (South Bend, Ind.: University of Notre Dame, 2008), 8.
Slavoj Žižek, “Is It Possible to Traverse the Fantasy in Cyberspace?,” in The Žižek Reader (London: Blackwell-Wiley, 1999), 102–24.
Pfaller, Interpassivity, 3.
Pfaller, 4.
Azuma, Gēmu-teki riarizumu no tanjō.
See Espen J. Aarseth, Cybertext: Perspectives on Ergodic Literature (Baltimore: Johns Hopkins University Press, 1997); Montfort, Twisty Little Passages.
Brian Ruh, “The Comfort and Disquiet of Transmedia Horror in Higurashi: When They Cry (Higurashi No Naku Koro Ni),” Refractory: A Journal of Entertainment Media (June 22, 2014), http://refractory.unimelb.edu.au/2014/06/22/higurashi-brian-ruh/. See also Adachi Kayu, “Shiten ga ninau messēji: ‘Higurashi no naku koroni’ ni miru noberugēmu no monogatari kōsei-hō,” Animēshon kenkyū 12, no. 1 (2011): 19–29.
Pfaller, Interpassivity, 7–8.
Azuma, Gēmu-teki riarizumu no tanjō, 275.
“(Sawa gēmu) ‘shutainzu gēto’ ‘rūpu’ ga unda aratana mirai-sa yawaka,” Asahi Shinbun, July 11, 2011.
Bolter and Grusin, Remediation, 27.
Bolter and Grusin, 94.
Nikita Sharma, “Your Favorite Cell Phone Might Be Harming Your Health,” Disseminate Knowledge: International Journal of Research in Management Science and Technology 2, no. 2 (2014): 96.
See Picard, “Foundation of Geemu,” n11. See “Machi kōjō sekai e tobu: Toranjisutarajio eigyō man no tatakai,” in Purojekuto ekkusu: Chōsenshatachi (Tokyo: NHK entāpuraizu, 2001).
Steins;Gate is negative too but brings the contradiction into our very understanding of the plot.
From my review of 1980s and 1990s advertisements in the following magazines: SoftBank’s Oh!PC and Oh!HC; Kōgakusha’s I/O; Shogakukan’s Popukomu; Nikkei-sha’s Nikkei Pasokon; and Denpa shinbun-sha’s Denshi kōsaku magajin and Gekkan maikon.
The Super Famicom Link and Mario advertisement appeared on the back cover of Weekly Famikon tsūshin, no. 180 7(2), May 29, 1992.
Fujita Akiko, “Dōga saito de ninki no ‘gēmu jikkyō’ hōritsu-teki ni ki o tsukerubeki ten wa?,” Bengoshi dottokomu nyūsu, January 17, 2014, https://www.bengo4.com/internet/n_1115/.
Chōrō, “Tokuni imi wanai: Steins;geito o jikkyō purei part 9,” Niconico dōga, June 13, 2015, http://www.nicovideo.jp/watch/sm26476884. See also Richard S. Chang, “You Say Gigawatt, I Say Jigowatt,” Wheels (blog), New York Times, April 8, 2008, https://wheels.blogs.nytimes.com/2008/04/08/you-say-gigawatt-i-say-jigowatt/.
Comment at 9:51 of Masa Haruko (mairisu-yō), “[Jikkyō] imasara hitonihakikenai shutainzu gēto part 3,” Niconico dōga, November 11, 2015, http://www.nicovideo.jp/watch/sm27564206.
Manji, “Shutainzu gēto demo-ban han’i nomi jimi jikkyō part 18,” Niconico dōga, March 14, 2010, http://www.nicovideo.jp/watch/sm10025268.
See the discussion of “neta-like communication” as the seed of discourse in Suzuki Kensuke, Bōsō suru intānetto: Netto shakai ni nani ga okite iru ka (Tokyo: Isuto puresu, 2002). See also Azuma’s notion of “contentless communication” in Azuma, Gēmu-teki riarizumu no tanjō, as well as the discussion in Ōtsuka Eiji and Azuma Hiroki, Riaru no yukue: Otaku wa dō ikiru ka (Tokyo: Kōdansha, 2008).
Ion, “imai asami no SSG,” Niconico dōga, November 8, 2014, http://www.nicovideo.jp/watch/sm24874001.
Toshiya Ueno, “Techno-Orientalism and Media-Tribalism: On Japanese Animation and Rave Culture,” Third Text 13, no. 47 (1999): 95–106.
“Disaster Prevention Information,” Guide for Residents, Tokyo Metropolitan Government, https://www.metro.tokyo.lg.jp/english/guide/bosai/index.html.
Toshifumi Nakabayashi, “Revival from the Great East Japan Earthquake by Fukushima Game Jam” (Game Developers Conference GDC14, San Francisco, March 2014), https://www.gdcvault.com/play/1020803/Revival-from-the-Great-East; Shin Kiyoshi, “Localizing Global Game Jam: Designing Game Development for Collaborative Learning in the Social Context,” in Advances in Computer Entertainment, ed. Anton Nijholt, 117–32 (New York: Springer, 2012).
P. Bowles and L. T. Woods, Japan after the Economic Miracle: In Search of New Directions (New York: Springer Science & Business Media, 2012); Parissa Haghirian, Routledge Handbook of Japanese Business and Management (New York: Routledge, 2016); M. Itoh, The Japanese Economy Reconsidered (New York: Palgrave Macmillan, 2000); Joe Peek and Eric S. Rosengren, “Unnatural Selection: Perverse Incentives and the Misallocation of Credit in Japan,” American Economic Review 95, no. 4 (2005): 1144–66; J. Mark Ramseyer, “Legal Rules in Repeated Deals: Banking in the Shadow of Defection in Japan,” Journal of Legal Studies 20, no. 1 (1991): 91–117; Kazuo Ueda, “Causes of Japan’s Banking Problems in the 1990s,” in Crisis and Change in the Japanese Financial System, ed. Takeo Hoshi and Hugh Patrick, 59–81 (New York: Springer US, 2000).
Kevin R. Brine and Mary Poovey, Finance in America: An Unfinished Story (Chicago: University of Chicago Press, 2017); N. Katherine Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (Chicago: University of Chicago Press, 1999); N. Katherine Hayles, Unthought: The Power of the Cognitive Nonconscious (Chicago: University of Chicago Press, 2017).
Yoshioka Hiroshi, “‘Maikongēmu sōsei-ki’ o oete,” in Gēmukasuru sekai: Konpyūta gēmu no kigōron, ed. Nihon kigō gakkai, Sōsho semiotoposu, 48–49 (Tokyo: Shin’yōsha, 2013).
Uno, Zero-nendai no sōzō-ryoku, 19, 96, 116.
See “Shinyō gēmu” (Credit Game), InterCommunication Center, 2001, http://www.ntticc.or.jp/en/feature/2001/Credit_Game/Events/event02.html, http://www.ntticc.or.jp/en/feature/2001/Credit_Game/Works/creditgame_a.html, http://www.ntticc.or.jp/ja/feature/2001/Credit_Game/Works/creditgame_b_j.html.
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