Index
Page numbers in italic refer to illustrations.
Abe Kōbō, 135–37, 138, 141, 149
“About Imitation” (Abe), 135–37
Acland, Charles R., xv
Act on Management Business of Copyright and Neighboring Rights (Japan), 127
Adorno, Theodor W., 32, 33–34, 66
Adventures of Superman (TV series), 130, 155, 164, 170
Akatsuga Yukio, 173
Akihabara stabbing (2008), 176
Akutagawa Ryūnosuke, 73
Ancient Warrior Costume of the Japanese (photo series), 37
Angus, D. C., 39
anime, 22–23, 162–64, 168, 227
“Annoyed by Copiers/Mimes” (Hagiwara), 133
Apple Inc., 243
Arai Wagorō, 88–89, 90, 109, 113
Arendt, Hannah, 226
Arinamn (vitamin supplement), 156–57
ari no mama, 11
Arisaka rifle, xi
Ariwara no Narihira, 134
Arrival of a Train at Ciotat Station (film), vii
artificial intelligence (AI), 204
Asakusa tower, 53–54, 55, 57, 60
Asanuma Inejirō, 152
Asanu Tadanobu, 12
Asia (Reynolds), 39
Association of Proletarian Artists, 108
au by KDDI (Japanese company), 12
Auerbach, Erich, 14, 42, 64, 175
Avatar (film), 66
Awazu Kiyoshi, 237
Ayami Nakajō, 250
Azuma Hiroki, 21, 188, 213, 220, 258; computer graphics, 3, 19–20; cyberspace, 3–7; “game-like realism,” 23, 24, 202, 228
Back to the Future (film), 219–20
Ball, Harvey Ross, 253
Ballard, J. G., 3
Balzac, Honoré de, 58
Barad, Karen, 230
Barraud, Francis, 18
Barraud, Mark Henry, 18
Bédouin, Jean-Louis, 161
“Bel di, Vedremo, Un” (Puccini), 94
Benjamin, Walter, 66, 84; Kaiserpanorama, 61; mimetic faculty, 26, 35, 134, 163, 176, 229–32; optical conscious, 3
Bennett, Jane, 31
Berne Convention (1886), 90, 98, 101, 123
Best, Ahmed, 258
Betsuyaku Minoru, 178, 187, 188
Bhabha, Homi, 257
biplanarity, 67
body, embodiment, viii, xv, 2, 3, 34, 47, 66–67, 79, 84, 85–88, 104–5, 128, 162, 164, 204, 207, 227–29, 233–34, 254, 258–59, 266; mediation through, 228–33
Bolter, Jay David, 15, 17, 33, 193, 202, 214
Bonaparte, Napoleon, xv
Brecht, Bertolt, 136
Bredekamp, Horst, 281n4
Brown, Steven T., 135
Burton, William K., 60
“By My Father’s Bed” (Hagiwara Yōko), 69–70
Caillois, Roger, 14, 88, 92, 124, 126
calligraphy, 134
Canon Inc., xii
Capcom, xii
Carter, Jimmy, 74
Cartesianism, x, 47, 48, 56, 60, 71, 233
CERN (Conseil Européen pour la Recherche Nucléaire), 190–91
Chang, Alenda Y., 184
Chaos;Head (video game), 205, 213
Chaplin, Charlie, 137
Chion, Michel, 86
Chikamatsu Monzaemon, 95
“Children’s Play” (Namenake), 155–56
computer graphics (CG), 3, 19–20, 81, 258
Confession of a Mask (Mishima), 160
constructivism, 230
“Copy and the Mirror, The” (Yoshimoto), 240–41
copycat behavior, xiv, 129–30, 133, 149–50, 167–68, 173, 176, 215
Copycat Crime (Miyabe), 174–76
copyright, xiii–xiv, 86–87, 89–93, 96–103, 108–12, 127–28; Berne Convention on, 90, 98, 101, 123; Rome Convention on, 87, 90, 96–97, 99, 101; of video games, 219
Copyright Association of Japan, 110
Cotes, Peter, 137
Covid-19 pandemic, 36
Crary, Jonathan, 45, 59, 60–61, 64, 66, 80
Crayon Shin-chan (TV program), 163
Credit Game (video game), 225
cultural appropriation, 92, 122–23
Cushing, Peter, 258
Cykinso (Japanese company), 82
Dance Dance Revolution (video game), 228
Dazai Osamu, 280n87
Debord, Guy, 77–78
“Decay of Lying, The” (Wilde), 262–63
decisionism, 189, 199, 203, 206, 212
Delany, Samuel, 4
Dentsu (advertising agency), 82
Dassin, Jules, 137
Derrida, Jacques, 4, 40–41, 48, 64, 65, 175
Detective Conan (TV program), 162
digital 3D cameras, xii
dioramas, 58–59
Doki Doki Literature Club! (video game), 214
Doležel, Lubomir, 203
Doom (video game), 214
Dragnet Girl (Ozu), 24–25, 27, 28–29
Dragon Ball (Toriyama), 250
Dreams of a Visionary (Kant), 40
Dr. Slump (Toriyama), 249–50
duplication rights, 127
East Asian Copyright Company, 110
Eco, Umberto, 170
ecomimesis, xiv, 177–225, 260; definitions of, 179, 183–84; interpassive play and, 179–89, 206; Morton’s critique of, 209, 218, 219; sekai-kei likened to, 188
Eighteenth Brumaire of Louis Bonaparte, The (Marx), xv
Electronic Literature (Hayles), 204
Emmerich, Roland, 3
emoji, viii, x, xiv–xv, 231–34, 236, 240–54, 264–66
Emoji Movie, The (film), 248
Emoji Novel (“Chicchikichi!”), 245–47
emoticons, 243
Emperor Tomato Ketchup (Terayama), 170
Enami Nobukuni, viii, 37–39, 43–48, 51, 53, 59, 71–73, 84, 266
“Enough Already with Imitative Arts” (Ōoka), 137–38
Facebook, 259
facial recognition, 76
Fairbanks, Douglas, 74
“Famed Dog Nipper’s Dog ’N’ Roll” (Sūshinchū), 32
Famicom (NES, video game system), 180–81, 183
Family Game, The (Morita), 178, 179–82, 215, 216
Fanon, Frantz, 149
Feld, Steven, xiv, 86–87, 92, 112
Fetchit, Stepin, 258
Finnegans Wake (Joyce), 141, 277n50
Fisher, Carrie, 258
Ford, Gerald, 74
Foster, Hal, 79
Foucault, Michel, 13
Franchetti, Alberto, 108
Frazer, James George, 19
Friend, Gil, 184
Freud, Sigmund, 194
Fuchs, Barbara, 257
Fuji-san (Ogawa), 39
Fujita Akiko, 219
Fukuda Takeo, 74
Fukushima Game Jam, 222–23
Fukushima nuclear disaster (2011), 21, 222, 259
Fukuyama, Francis, 256
Fukuzawa Yukichi, 297n104
Gadamer, Hans-Georg, 232–33
Gallese, Vittorio, 35
Game of Phones (YouTube video), 248
gardening, 72
“Gioconda of the Twilight Noon, The” (Ballard), 3
Girard, René, xiv, 14, 131–33, 141–42, 160, 161
globalization, 10
Goethe, Johann Wolfgang von, 14
Gomi Tarō, 249
Google, 243
Gotō Fumio, 101
Grade, John, 140
Gramophone Company, 19
Graves, C. H., 37
Great East Japan Earthquake (2011), 259
Greater Japan Musician and Publishers Association, 100
Great Japanese Literary Copyright Protection League, 102
Griffith & Griffith, 39
Grosvenor, Gilbert H., 44
Grusin, Richard, 15, 17, 33, 193, 202, 214
Gulliver’s Travels (Swift), xi, 262
Habermas, Jürgen, 227
Hachikō (Japanese dog), 25–26
Hagiwara Sakutarō, 52, 67–69, 133–34
Hagiwara Yōko, 69–70
Halliwell, Stephen, 14, 16, 39
Hamano Satoshi, 227–28
Hamaya Hiroshi, 156
Hamlet (Shakespeare), 4
Hammerton, John, 39
Hanada Kiyoteru, 160–61, 169–70
Hansen, Mark B. N., 61, 229, 230–31, 233
Haraway, Donna, 47
Hard-Boiled Woman and the End of the World (Murakami), 178, 185–87
Harimao (TV program), 166
Harris, Paul, 77
Hatano Isoko, 29
Hata Tokichi, 110
Hatchaki Sensei’s Tokyo Game (film), 180
Hatsune Miku, 259
Hayashi Itoko, 115
Hayashi Yūjirō, 261
Hayles, N. Katherine, 204
Hazuki Riona, 242
Hearn, Lafcadio, 117–18
Hegel, Georg Wilhelm Friedrich, 230, 256
heterotopia, 13
Hohenstein, Adolfo, 119–20
Holmes, Burton, 39
Holmes, Oliver Wendell, 63–64
homomediation, 33
Hosoma Hiromichi, 53, 59–60, 62
House and Garden, 116–17
Huyssen, Andreas, 35
Hydroid (Japanese company), 82
hypermediacy/hypermediation, viii, 16, 18, 27–33, 202, 214
Imai Asami, 220–21
immediacy, viii, x, 13, 16, 18, 22, 26, 33, 65, 77, 81, 131, 183, 209, 228
information society, 195, 240, 261
interactive fiction (IF), 204
Intercommunication (journal), 3, 6
International System of Typographic Picture Education (Isotype), 236–37, 238, 239, 243
interpassivity, 178–79, 200–201, 205–6, 219
Irigaray, Luce, 14, 87–88, 103, 114, 125, 126
Ishimura Masaru, 32
Itō Chūta, 74
Itoi Shigesato, 196
Japan: The Eastern Wonderland (Angus), 39
Japanese Popular Music (1891), 90
Japanese Red Army, 171
Japanese Society for Rights of Authors, Composers, and Publishers (JASRAC), 99, 102, 127
Japan Music Copyright Association, 100–102
Jay, Martin, 16
“Jizuki-Uta” (folk song), 94
Jobs, Steve, x
Johnson, Lyndon, 74
Just Dance (video game), 228
Juul, Jesper, 203
Kabuki, 141
Kaiserpanorama, 48, 52, 53, 59, 61
Kamo Masao, 74
Kaneko Masaru, 171–72
Kanno Yōko, 87
karaoke, 127
Karasawa Tochiji, 101
Karatani Kōjin, 2, 40, 41, 64, 83, 262
Kasai Kiyoshi, 187–88
Katsutarō Inabata, vii
Kawauchi Kōhan, 145–46
Keller, Helen, 74
Keystone Stereoview Company, vii, 39, 50–51
Kido Shirō, 98, 99, 100–101, 111
Kishi Nobusuke, 74
Kishi Yamaji, 101
Kitching, Alan, 239
Kittler, Friedrich, xv
Kobatake, K., 90
Kobe child murders (1997), 172, 176
Koch, Gertrud, 35
Kōichi Iwabuchi, 264
Koizumi Junichirō, 171–72
Kokoro (Sōseki), 189
Konoe Hidemaro, 100
Kon Satoshi, 85
Kojève, Alexandre, 256
Kubrick, Stanley, 85
Kunishio Kōichirō, 100–102, 103
Kurita Shigetaka, 233
Kuriyama Shigeru, 101
Kuroki Shingo, 62
Kuwakubo Ryōta, 225
Kyō Machiko, 138
Kyoto animation arson (2019), 176
Lacan, Jacques, 3, 4, 6, 147, 153, 188; the Real and realities distinguished by, 16–18, 20–21, 224, 229
Lang, Fritz, 263
Laramie (TV program), 164
Law Concerning Intermediary Work Relating to Copyright (Japan, 1939), 102
Lectures on Human and Animal Psychology (Wundt), 64–65
Lefebvre, Henri, 63
Lehár, Franz, 97
Lennon, John, 196
Liesegang, Eduard, 44
Lindbergh, Charles, 74
Lippit, Akira, 10
Lippit, Seiji M., 58
“Little Puppy, Nipper” (Hattori Junko), 29, 31–32
LoCos (Lovers’ Communication System), 234, 238, 252
Lone Ranger, The (TV program), 130, 144, 164
Long, John Luther, 93, 98, 113–14, 122
“Loss of a Middle Ground, The” (Betsuyaku), 187
Lumière brothers, vii
M (Lang), 263
Madama Butterfly (Puccini), viii, xiii, xiv, 85–99, 103–7, 110–12, 118–20
Madame Butterfly (Belasco), 98, 119
“Madame Butterfly” (Long), 113–14, 118–19
Madame Butterfly (film), 97–98, 121–22
Madame Butterfly’s Fantasy (Arai), 88–89, 90, 98–99
Madame Chrysanthème (Loti), 118
Madonna, 92
Maejima Hisoka, 74
Maejima Satoshi, 188
Magical Girl Madoka Magica (video game), 213
Magnetic Rose (Kon), 85
Mahler, Gustav, 97
Mallarmé, Stéphane, 175
“Man Traveling with the Brocade Portrait, The” (Rampo), 56
Marcus, Aaron, 238
marketing, vii–xii, 12–13, 24, 26–27, 32, 36, 38, 40–41, 43–56, 60–62, 76–77, 80–83, 98, 104–5, 119, 128, 130, 132, 155–60, 169, 173, 178–79, 180–83, 189–91, 196, 205–6, 214–21, 225, 242–43, 248, 250, 263–65, 278, 282, 286, 304, 309
Masamune Hakuchō, 139
Massumi, Brian, 56
Masuda Giichi, 100
Masuzawa Takemi, 100, 102, 103
Matsubara Tatsuya, 221
Maturity and Loss (Etō), 195
McLuhan, Marshall, xi, 23, 183, 231, 233, 296n93
McQueen, Butterfly, 258
Media Do Not Exist (Tamaki), 6
Meguro Jinshichi, 100
Melancholy of Haruhi Suzumiya, The, 228
Merleau-Ponty, Maurice, 230
Metabolist movement, 261
metaphysical desire, 132
Metlicovitz, Leopoldo, 120, 121, 122
Michaels, Walter Benn, 122
Miho Kantarō, 109
mimetic rivalry, xiv
mimicry: artistic, 9, 11, 93, 103, 115, 126; attacks on, 33–34; Caillois’s theory of, 88; of colonizer by the colonized, 260; copycatism and, xiv, 130–32, 135, 137, 140–42, 149–50, 154, 163, 164, 166, 176; in cyberspace, 228, 251, 258; digital music reproduction as, x; as remediation, 22–27, 229; representation linked by media to, 16, 31, 79; representation vs., viii, xvi, 14, 22, 24, 39; stereography as, 39, 42
Minna unchi (Everyone Poops; Gomi), 249
Mishima Yukio, 160
mitate, 11
Mitchel, David, 264
Mitsuhiro, Yoshimoto, xi
missed realism, 17
Miura Tamaki, viii, xiii, 87–97, 103–13, 124–27, 266
Miyabe Miyuki, 174–76
Miyadai Shinji, 189
Miyazaki Tustomu, 176
monomane, 11, 134–37, 139, 141, 146
Montfort, Nick, 204
Moonlight Mask (Gekkō Kamen; TV series), viii, 129–31, 141–49, 151, 154–58, 161, 163–74, 266
“Moonlight Serenade” (Miller), 85, 86
moral panic, xiv, 129, 165, 176–78, 211, 214, 215–16
Mori Ōgai, 52
Morioka Isao, 73–76, 78, 80, 266
Morita, Akio, 265
Morita Yoshimitsu, 174, 178, 180
Morton, Timothy, 184, 209, 218, 223
“Mother” (Lennon), 196
Mother (Mazā; video game), 196
Moulthrop, Stuart, 204
“Ms. Butterfly at Nagasaki” (Watanabe), 94
Murakami Haruki, 178, 184–85, 187, 264
Mushanokōji Saneatsu, 139
Music Police Squad, 101
Mussolini, Benito, 108
“My Camera” (Hagiwara Sakutarō), 67–68
Myst (video game), 214
Nagai, Y., 90
Nakai Masakazu, 27
Namekawa Michio, 153–56
National Geographic, 44
“Needle of the Gramophone, The” (Masazaku), 27
Neurath, Otto, 236–37, 238, 242, 243, 252
Neuromancer (Gibson), xi–xii, 262
New Tales of Tokyo Prosperity (Hattori Bushō), 58
Ngai, Sianne, 33
NHK (Japan Broadcasting Corporation), 100
Niklaus, Thelma, 137
Nipper (Victor corporate mascot), 16–19, 22, 24–25, 28–33
Noh theater, 11, 134–36, 140, 141, 160
Noma Hiroshi, 280n87
Norisugi Yoshihisa, 100
Novak, Daniel, 46
NTT DoCoMo (internet provider), 6, 242, 243, 264
Ochōfujin (Setouchi), 106
ocular convergence, 66
Ogi Masahiro, 81
Ohayō (Ozu), 169
Okawada Akira, 199
Olympic Games, 108, 234, 240, 243
Omori Kota, 101
Ono Kenichirō (ceramicist), 100
Ono Kenichiro (executive), 100
“On the Mimetic Fallacy” (Benjamin), 231
Ōoka Shōhei, 135, 137–39, 141, 149
opacity, 66, 114, 124, 134, 137, 141
Open Meal Project, 82
“Open Window, The” (Saki), 3
Oshii Mamoru, 81
Ōshima Fukuzō, 74
Ōshima Nagisa, 169–70
Ōta Yukio, 233, 235, 237–40, 243, 252
otome (maiden) games, 194, 197, 200
Ōtomo, Katsuhiro, 85
Ōtsuka Eiji, 195
Owen, William Barry, 19
Ōyama Hisako, 91
panoramas, 52–64
PanVitan Pere (multivitamin), 157–59
parallax effect, 40
Peoples of All Nations (Hammerton), 39
Perfumer, The (Picart), 248–49
Pfaller, Robert, 178, 179, 206, 212
Photographic Society of Japan, 43
Picart, Bernard, 249
Pickford, Mary, 121
Pictogram Design (Ōta), 233, 235, 237–38, 240, 242
piracy, 215
Plage, Wilhelm, xiii, 87, 89, 96, 98–103, 108–12, 127
Plato, 3, 15, 33–34, 103, 114, 125, 136, 163, 175
“Playing of Phonograph Records and Copyright, The” (Kunishio), 101
Poetics (Aristotle), 136
Pokemon (TV program), 163
Pokemon Go! (video game), 83
Pokémon Shock (1997), 162–63, 165
Pollock, Jackson, 140
Postman, Neil, x
Poulsen, Melissa Eriko, 117–18
Puccini, Giacomo, viii, xiv, 85–99, 103–7, 109, 111–12, 119
Raine, Michael, 24
Rampo Edogawa, 52, 56, 58, 65, 71–72
Rashōmon (Kurosawa), 138
Reagan, Ronald, 74
Reagan Library (Moulthrop), 204
Reeves, William, 48, 49, 52, 53
Reichsgesetz über die Vermittlung von Musikaufführungsrechten, 101
Reiniger, Lotte, 122
remediation, 7, 12–13, 15–16, 22–27, 33, 229
representation: artistic, 9, 14, 27, 66, 137, 139–41, 176, 214; the body and, 228–29, 261; in cyberspace, 8; in Madama Butterfly, 87, 89, 93, 106, 113–18, 122, 124; media infrastructures and, 240–41; mimicry linked by media to, 16, 31, 79; mimicry vs., viii, xvi, 14, 22, 24, 39; printed word and, 10; the real imitated by, 18–22, 28; stereomimesis and, 39, 42, 79; traditional views of, 3–4, 11
Research in Cultural Homes (Moriguchi), 115
Return of the Real, The (Foster), 79
reverse mimesis, 74, 104, 107, 117, 167, 177, 183, 221, 250
Reynolds, Joan Berenice, 39
Ricordi (music publisher), 98, 99, 120
Riffaterre, Michael, 23
Riviere, Joan, 88
Rokudenashiko (Iganashi Megumi), 79, 80, 81–82, 266
Rome Convention (1928), 87, 90, 96–97, 99, 101
Rotary International, 77
Rousseau, Jean-Jacques, 5, 228
Ruggles, Charlie, 121
Ruh, Brian, 211–12
Russo-Japanese War (1904–5), 44, 51, 53
Saitō Tamaki, 6–7, 21, 23, 188, 231–32, 258
Sakamoto Kiyoshi, 44
Saki, 3
Sasaki Mamoru, 144–45
Satoshi Kon, xii
Satō Yutaka, 241–42
schizophonia, xiv, 86–87, 92–93
Schmitt, Carl, 189
Scott, Ridley, 85
Screech, Timon, 58
Sears, Roebuck and Company, viii, 39
seka-kei, 177–79, 187–90, 194, 197–200, 221–22
self-reflexivity, ix, 198, 228
Sengoku Basara (video game), xii
Senō Kōyō, 94–95
Setouchi Harumi, 106
Sharing for Survival (film), 239
Sherman, Cindy, 45–46
Shift-JIS, 243
Shimazaki Tōson, 100
Shimizu Ikutarō, 152
shinhatsubai, xi
Shinkichi Okada, 137
Shinshōsetsu (journal), 73
Shōchiku (entertainment company), 97–99, 109
Simondon, Gilbert, 162
Six Japanese Popular Songs (1894), 90
Skabelund, Aaron, 26
skeuomorphic design, 12–13
smartphones, 189, 193, 202, 204, 206–10, 213–14, 222, 243, 251
social media, 259–60
Solaris (Tarkovsky), 85
somamediation, 33
Sontag, Susan, 66
Sōseki Natsume, 189
Spain, Bernard, 253
Spain, Murray, 253
Spectacular Japan (TV program), 138
Squirrel and the American, The (film), 166
Stargate (Emmerich), 3
Star Wars films, 258
Steinberg, Marc, 10
Steins;Gate (video game), viii, xiv, 179, 189–215, 219–21
Stendhal, 139
Stereographic Sculptures Corporation, 74
stereography, 39–40
stereomimesis, xiii, 39, 42, 55, 79, 193
Sterling, Bruce, 4
Stiegler, Bernard, 70
“Storyteller, The” (Benjamin), 231
Strange Tale of Panorama Island, The (Rampo), 71–72
Street Fighter (video game), xii
Street of Love and Hope (Ōshima), 169
Sunagawa Struggle (1955), 145
Super Smash Bros. (video game series), 217
Sūshinchū (comedy band), 32
Sushi Singularity (restaurant), 82
Suspensions of Perception (Crary), 59
Swift, Jonathan, xi
syntagmatic space, 63
synthesization, x
Takahashi Yoshitaka, 135, 139–40
Takarazuka (Japanese company), 100
Takayuki Kenjirō, 77
Takayuki Tatsumi, 4
Takebayashi Kenshichi, 110
Takeda Pharmaceuticals, 156, 157, 158, 159
Tale of Genji, 134
Tale of the Heike, The, 134
Tales of Ise, 134
Tange Sazen Riding a Horse (Betsuyaku), 187
Tanigawa Ken’ichi, 161
Tani Ken’ichi, 156
Tani Yutaka, 130
Tanizaki Jun’ichirō, 139
Tarkovsky, Andrei, 85
Taussig, Michael, 14, 19, 31, 124–25
Tebaldi, Renata, 87
techno-orientalism, xi, xii, 6, 228, 254–64
television, 77, 78–79, 130–32, 135, 137, 141; copycat behavior linked to, 150–55; film production shaped by, 164–65
“Television Age, The” (Shimizu), 152–53
Television and Children (Namekawa), 153–55
Terada Seiichi, 150
Terashima Jitsurō, 172
Terayama Shūji, 170–71
3D printing, xiii, 76, 79, 80, 81, 84
time travel, 190, 192, 193, 200, 202, 205
“Tiny Colossus” (Terayama), 170–71
TōeiScope, 164
Tōgō Heihachirō, 74
Tōhō Company, 100
Tokuda Shūsei, 100
Tomiko Yoda, 195
Tonuma Kōichi, 261
Toriyama Akira, 249
Travelogues (Holmes), 39
Trial, The (Welles), 3
Tsujiyama Kiyoshi, 172
Tsurumi Shusuke, 238
Turnbull, Colin, 92
Twitter, 259
2001 (Kubrick), 85
Uchimura Naoya, 152
Ueno Chizuko, 195
Uno Tsunehiro, 189, 195, 198, 212, 224
Ustinov, Peter, 239
Usui Yoshito, 164
VAIO netbook, xii
vending machines, 42, 50, 60–63
Victor’s Famous Dog Story (Hatano), 28, 30
Victor Talking Machine Company, 19
Vietnam War, 171
“Views of Japan,” viii
Visualizing Global Interdependencies (report and film), 238, 239
Wario’s Woods (video game), 216
Watanabe Hamako, 94
“Watermelon Man” (Hancock), 112
Welles, Orson, 3
Welsh, Timothy J., 17
Willème, François, 73
windows, as metaphor, 115–17, 118, 124
Wundt, Wilhelm Max, 64–65
Yamagata University, 82
Yamamoto Yūzō, 100
Yamanashita Hiroaki, 109
Yamashita Toshio, 167
Yamazuki Masazui, 280n87
Yasumasa Morimura, 45
Yawaraka 3D, 82
Yokoyama Taikan, 100
Yoshikazu Yasuhiko, 198
Yoshimoto Takaaki, 240–41
YouTube, 127
Yuta Tamon, 98
Zahlten, Alexander, 10
Zeami Motokiyo, 11, 135, 136, 139, 140, 141
Zielinski, Siegfried, xv
Zigomar (film), 150
Zuse computer, 8