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Japanese Cinema in the Digital Age$
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Mitsuyo Wada-Marciano

Print publication date: 2012

Print ISBN-13: 9780824835941

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824835941.001.0001

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Finding the Nation in Transnational Cinema

Finding the Nation in Transnational Cinema

Chapter:
(p.97) 4 Finding the Nation in Transnational Cinema
Source:
Japanese Cinema in the Digital Age
Author(s):

Mitsuyo Wada-Marciano

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824835941.003.0005

This chapter examines the concept of transnationalism in contemporary Japanese cinema. The term “transnational cinema” has been posed as a substitute for “national cinema,” which has long been criticized for various reasons. While nationalism has been repeatedly invented in popular culture, national borders have become increasingly permeable. Global exchanges have noticeably accelerated with the development of communication technologies. In the case of film studies, the expansion of multinational finance and the diversified distribution beyond theatrical release has put the present framework of national cinema in a tenuous position. This chapter tackles the issue of the paradigm shift on the levels both of the critical discourses regarding Chinese-language and Nordic cinemas and the film texts, with particular emphasis on contemporary transnational films from the East Asian region. It also discusses global localization or glocalization as exemplified by the film Initial D. Finally, it considers what benefit, if any, the framework of transnational cinema brings us over that of national cinema through an analysis of the Japanese film, The Hotel Venus (2004, Takahata Hideta).

Keywords:   transnationalism, Japanese cinema, transnational cinema, national cinema, Chinese-language cinema, Nordic cinema, transnational films, glocalization, Initial D, The Hotel Venus

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