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Mitsubachi M: Frühlingssturm und Monster
02

Frühlingssturm und Monster 02

Mein Buchcafé in einer anderen Welt 04

In this study, Ian Reader presents new insights into the relationship between religion and tourism more generally and into the contemporary religious situation in Japan. He counteracts scholarship that claims tourism increases religious activity, shows that tourism is a factor in increasing secularization in Japan and draws attention to the role of the state in such contexts.

Although the Japanese constitution prohibits the state from promoting religion, this book shows how state agencies nonetheless encourage people to visit religious sites, by presenting them as manifestations of a shared heritage, in ways that distance them from 'religion'. Reader examines theoretical understandings of religion and tourism and presents case studies of famed pilgrimage routes and temples. He shows how Zen monasteries are now 'tourist brands' and pilgrimages are the focus of TV entertainment programmes, portrayed as opportunities to eat sweets.

Examining the nationalistic rhetoric of nostalgia and unique heritage that underpins the promotion of religious sites, Reader also considers why priests acquiesce in such matters.

In this study, Ian Reader presents new insights into the relationship between religion and tourism more generally and into the contemporary religious situation in Japan. He counteracts scholarship that claims tourism increases religious activity, shows that tourism is a factor in increasing secularization in Japan and draws attention to the role of the state in such contexts.

Although the Japanese constitution prohibits the state from promoting religion, this book shows how state agencies nonetheless encourage people to visit religious sites, by presenting them as manifestations of a shared heritage, in ways that distance them from ‘religion’. Reader examines theoretical understandings of religion and tourism and presents case studies of famed pilgrimage routes and temples. He shows how Zen monasteries are now ‘tourist brands’ and pilgrimages are the focus of TV entertainment programmes, portrayed as opportunities to eat sweets.

Examining the nationalistic rhetoric of nostalgia and unique heritage that underpins the promotion of religious sites, Reader also considers why priests acquiesce in such matters.

Intersections, Images, Policies and Problems

Religion and Tourism in Japan

Basic Art

Von Edouard Manets Porträt des Schriftstellers Émile Zola, der inmitten seiner japanischen Kunstfunde hockt, bis hin zu Van Goghs akribisch gesammelten Hiroshige-Drucken – Pioniere der europäischen Moderne machten im 19. Jahrhundert kein Geheimnis aus ihrer Liebe zur japanischen Kunst. In all seiner sprudelnden Sinnlichkeit und Freizügigkeit schreibt man den Trend des Japonismus allein dem Holzschnitt zu, der zunächst Frankreich und später ganz Europa in seinen Bann zog – oft missverstandene, "exotische" Artefakte, die der westlichen Kreativität als Inspiration dienten.
 
 Tatsache ist, dass der japanische Holzschnitt ein Phänomen darstellt, zu dem es kein westliches Äquivalent gibt. Einige wegweisende Ideen der Moderne – darunter Karl Marx’ Diktum, dass "alles, was fest ist, sich in der Luft auflöst" – wurden im Japan des 17. Jahrhunderts entwickelt und im frühen 19. Jahrhundert erstmals in den Werken von Meistern wie Hokusai, Utamaro und Hiroshige zum Ausdruck gebracht.
 
 Dieses Buch lüftet den Schleier dieser beliebten, aber wenig verstandenen Kunstform und präsentiert die außergewöhnlichsten japanischen Holzschnitte in ihrem historischen Kontext. Die hier versammelten Werke reichen von den Anfängen über den Höhepunkt der Entwicklung im Ukiyo-e, den "Bildern der schwebenden Welt", im 17. Jahrhundert bis zum Niedergang und späteren Wiederaufleben der Drucke im frühen 20. Jahrhundert. Dokumentiert wird nicht nur ein einzigartiges Genre der Kunstgeschichte, sondern auch die sich wandelnden Sitten und die kulturelle Entwicklung Japans.
 
 Wir entdecken die vier Säulen des Holzschnitts – Schönheiten, Schauspieler, Landschaften sowie Vogel- und Blumenkompositionen – neben Darstellungen von Sumo-Ringern, Kabuki-Schauspielern oder Edelkurtisanen – Popstars, welche die "schwebende Welt" bevölkerten und deren wachsende Anhängerschaft die explosive Produktion der Holzschnitte beflügelte. Wir tauchen ein in bedrohlich-obskure Szenen, in denen Dämonen und Geister Angst und Schrecken verbreiten und die japanische Mangas, Filme und Videospiele bis heute beeinflussen. Wir erleben, wie technische Meisterschaft und das unfehlbare Auge ihrer Schöpfer diese Werke in ihrer unglaublichen Breite – von Alltagsszenen über Erotik, Kampfkunst bis hin zur Mythologie – vereint und wie Verleger und Künstler mit enormem Einfallsreichtum und Augenzwinkern gleichermaßen darum gekämpft haben, die staatliche Zensur zu umgehen.
 
 Diese Ausgabe vereint die besten erhaltenen Drucke aus Museen und Privatsammlungen weltweit und bietet Beschreibungen, die uns durch diese rasante Periode der japanischen Kunstgeschichte führen.

Xilografías japonesas

Dark Paladin 06

World Cinema

"In Japanese Cinema and Punk, Mark Player explores how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a time of crisis and change for Japan's film industry. Analyzing key examples such as Burst City (1982), Robinson's Garden (1987) and Tetsuo: The Iron Man (1989), he traces the changing sociocultural position of Japan's punk movement throughout the 1980s, from its euphoric early-80s highpoint to a growing dysphoria brought about by its co-opting and convergence by the mainstream"--

In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japan’s film industry.

Drawing on first-hand interviews with key figures from the jishu eiga (self-made film) tradition, including Ishii Gakuryu, Yamamoto Masashi, Tsukamoto Shin’ya, and Fukui Shozin, Player explores how punk's bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by punk rock, graffiti art, street performance, animation, and evolving music technologies.

By considering the practical, phenomenological, and political ramifications of blending diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinson’s Garden (1987), and Tetsuo: The Iron Man (1989). He further traces the changing sociocultural position of Japan’s punk movement throughout the 1980s—from its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence.

Intermedial Exchanges

Japanese Cinema and Punk

And Then I Know Love

In einer Beziehung mit dem Chef...!
 
 Shogo
 arbeitet in einer 
 Patisserie
 und ist bis über beide Ohren in seinen 
 Chef
 , den 
 Meisterpatissier Akira
 , verliebt, einen feinfühligen, gelassenen und immer aufmerksamen Mann. Die beiden werden ein
 Paar 
 und wohnen schließlich sogar zusammen. Im Laufe ihrer 
 gemeinsamen Momente
 und Unternehmungen lernen sie immer wieder 
 neue Seiten
 am anderen kennen, die dafür sorgen, dass sie einander 
 umso mehr lieben
 .
 
 Weitere Informationen:
 <ul>
 <li>Spice-Level: 2 von 4 Flammen. In diesem Boys-Love-Titel stehen die Gefühle im Mittelpunkt. Mit einzelnen expliziten Szenen.</li>
 </ul>
 
 Eine weitere gelungene Fortsetzung der süßen Boys-Love-Story aus der Feder von Honoji Tokita!

In einer Beziehung mit dem Chef...!Shogo
 arbeitet in einer 
 Patisserie
 und ist bis über beide Ohren in seinen 
 Chef
 , den 
 Meisterpatissier Akira
 , verliebt, einen feinfühligen, gelassenen und immer aufmerksamen Mann. Die beiden werden ein
 Paar 
 und wohnen schließlich sogar zusammen. Im Laufe ihrer 
 gemeinsamen Momente
 und Unternehmungen lernen sie immer wieder 
 neue Seiten
 am anderen kennen, die dafür sorgen, dass sie einander 
 umso mehr lieben
 .
 <ul><li>Spice-Level: 2 von 4 Flammen. In diesem Boys-Love-Titel stehen die Gefühle im Mittelpunkt. Mit einzelnen expliziten Szenen.</li></ul> Eine weitere gelungene Fortsetzung der süßen Boys-Love-Story aus der Feder von Honoji Tokita!

And Then I Know Love 5

Don't Kiss the Dragon 05

'Enemy cities were pulverized or fried to a crisp. It was something they asked for and something they got.'In the closing months of the Second World War hundreds of thousands of Japanese, mostly civilians, died in a final outburst of violence from the air. American planes were beginning to run low on plausible targets when it was decided to use two atomic weapons in a final, terrible flourish to try to end the war. What place the firebombing and atomic bombs have in explaining Japan's surrender has remained a hot area of debate ever since. Richard Overy's remarkable new book rethinks how we should regard this last stage of the war and the role of the bombs. The popular view that bombing worked in this case has now to be set in a broader context of what was happening in Japan in the months before surrender. The easy equation 'bombing equals surrender' is no longer viable. This book explores the way in which the willingness to kill civilians and destroy cities became normalized in the course of a horrific war as moral concerns were blunted and scientists, airmen, and politicians endorsed a strategy of mass destruction they would never have endorsed before the war began, But it also engages with the new scholarship that shows how complex the effort to end the war was in Japan, where 'surrender' was entirely foreign to Japanese culture. This book puts together firebombing, atomic bombing, and the Japanese search for an end to the war into a single, striking narrative.

‘Enemy cities were pulverized or fried to a crisp. It was something they asked for and something they got.’ In the closing months of the Second World War hundreds of thousands of Japanese, mostly civilians, died in a final outburst of violence from the air. American planes were beginning to run low on plausible targets when it was decided to use two atomic weapons in a final, terrible flourish to try to end the war. What place the firebombing and atomic bombs have in explaining Japan’s surrender has remained a hot area of debate ever since. Richard Overy’s remarkable new book rethinks how we should regard this last stage of the war and the role of the bombs. The popular view that bombing worked in this case has now to be set in a broader context of what was happening in Japan in the months before surrender. The easy equation ‘bombing equals surrender’ is no longer viable. This book explores the way in which the willingness to kill civilians and destroy cities became normalized in the course of a horrific war as moral concerns were blunted and scientists, airmen, and politicians endorsed a strategy of mass destruction they would never have endorsed before the war began, But it also engages with the new scholarship that shows how complex the effort to end the war was in Japan, where ‘surrender’ was entirely foreign to Japanese culture. This book puts together firebombing, atomic bombing, and the Japanese search for an end to the war into a single, striking narrative.

Tokyo, Hiroshima and the Surrender of Japan

Rain of Ruin

The first effort to reconstruct the history of the Pacific War exclusively from internal Japanese sources, from the renowned historiansA magisterial work of political, social, and military history,&nbsp;Sacred War&nbsp;sets a new standard for understanding the events that forever transformed America, Japan, and the world. Celebrated historians Theodore F. and Haruko Taya Cook, whose oral history of the Pacific war was called "one of the essential books about World War II" (Philadelphia Inquirer), now offer a shattering new history of Japan's long war in the Pacific, told exclusively from the perspective of the Japanese.&nbsp;Sacred War&nbsp;draws on a rich trove of documents, much of it first-person and almost all of it previously inaccessible to Western scholars. Based on painstaking research, here is World War II through the eyes of the Japanese themselves: ordinary people on the home front, soldiers on the front lines, and the military and political leadership who drove Japan to near annihilation by 1945. Sacred War&nbsp;reveals both the internal logic of an authoritarian society bent on victory at all costs-including, in the final twelve months of the war, over one million civilian deaths-as well as heartrending accounts of the unfolding conflict, from the disease-ridden beaches on Guadalcanal to the burnt-out streets of Hiroshima, following the nuclear attacks by the United States that brought the war to its devastating end.

The first effort to reconstruct the history of the Pacific War exclusively from internal Japanese sources, from the renowned historians A magisterial work of political, social, and military history, Sacred War&nbsp;sets a new standard for understanding the events that forever transformed America, Japan, and the world.Celebrated historians Theodore F. and Haruko Taya Cook, whose oral history of the Pacific war was called “one of the essential books about World War II” (Philadelphia Inquirer), now offer a shattering new history of Japan’s long war in the Pacific, told exclusively from the perspective of the Japanese. Sacred War&nbsp;draws on a rich trove of documents, much of it first-person and almost all of it previously inaccessible to Western scholars. Based on painstaking research, here is World War II through the eyes of the Japanese themselves: ordinary people on the home front, soldiers on the front lines, and the military and political leadership who drove Japan to near-annihilation by 1945.

Sacred War&nbsp;reveals both the internal logic of an authoritarian society bent on victory at all costs—including, in the final twelve months of the war, over one million civilian deaths—as well as heart-rending accounts of the unfolding conflict, from the disease-ridden beaches on Guadalcanal to the burnt-out streets of Hiroshima, following the nuclear attacks by the United States that brought the war to its devastating end.

Inside the Japanese Experience, 19371945

"Sacred War"

"Sweeping in scope, Antifascism and the Avant-Garde is a major contribution to both film studies and fascism studies. Julia Alekseyeva is singularly positioned to undertake a comparative study that moves with ease between decolonizing France, postimperial Japan, and the Soviet Union. Her insightful analysis reveals how filmmakers of the antifascist avant-garde undertook formal experiments and created affective atmospheres that subverted the positivism and rationality of traditional documentary, grounding their work in an understanding of the relationship between aesthetics and politics, between perception and antifascist consciousness."--Jackie Wang, author of Carceral Capitalism "As the clouds of right-wing populism gather on the horizon of late capitalism, Alekseyeva's brilliant and accessible study of experimental documentary filmmaking deftly argues for the value of art that celebrates ambiguity and uncertainty while simultaneously nurturing the militant optimism necessary to carry on the fight for justice."--Kristen R. Ghodsee, author of Everyday Utopia: What 2,000 Years of Bold Experiments Can Teach Us about the Good Life "Antifascism and the Avant-Garde explores the important and timely question of antifascist aesthetics--how antifascism can look and how it can operate. From a deep grounding in French and Japanese documentary film of the 1960s, Alekseyeva weaves a fascinating picture of echoes, resonances, and conflicts among filmmakers concerned with the use of cinema to counter fascism."--Jennifer Coates, author of Film Viewing in Postwar Japan, 1945-1968: An Ethnographic Study "A tour de force of genuinely global film studies. Alekseyeva maps out a fascinating net of site-specific but deeply interconnected cinematic quests for radical media literacy that spans the Soviet Union, Japan, and France--quests that only gain more burning significance in our current media situation. Astonishing in its breadth, and essential reading for anyone truly invested in global film dynamics."--Alexander Zahlten, author of The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies "With an extraordinary depth of expertise in French, Japanese, and Russian film, theory, and history, a political commitment to an internationalist approach and revolutionary phenomenology, and the curious eye and heart of a close reader of Marxist culture and avant-garde documentary, Alekseyeva introduces us to the critical tradition of antifascist documentary. Here we learn of a range of films and theories, all aligning the political and the psychological, pain and liveliness, pleasure and discomfort, subjectivity and objectivity. Alekseyeva compellingly argues that their shared antifascist aesthetic forefronts epistemological inquiry. While rooted in films from the 1960s, she demonstrates how this approach is and must be part of an ongoing and responsive project against power, one that teaches us how to see--a radical media literacy for radicals! In this critical contribution to documentary studies most broadly, Alekseyeva establishes how this tradition of engaged documentary contributes to a daily and human antifascist project, abetted by cinema: one of passion, critique, ambiguity, complicity, and disruption."--Alexandra Juhasz, producer of The Watermelon Woman and coauthor of We Are Having This Conversation Now: The Times of AIDS Cultural Production

Radical Documentary in the 1960s

Antifascism and the Avant-Garde

Dark Paladin 05

Set in the last days of the Samurai, old ghosts and new loves coincide in this romantic timeslip adventure&nbsp;

Gate to Kagoshima

Frühlingssturm und Monster 02

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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