Inhalt
"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"--