Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image

The narrative structure and formal style of the director Shinoda Masahiro's films reveal his ethical objective to encourage his viewer to engage with works of cinematic representation as the creative products of human agency that they are. Within his period films, Shinoda hopes to stimulate rec...

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Bibliographic Details
Main Author: Koble, Sean
Other Authors: Miyao, Daisuke
Language:en_US
Published: University of Oregon 2014
Subjects:
Online Access:http://hdl.handle.net/1794/18363
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spelling ndltd-uoregon.edu-oai-scholarsbank.uoregon.edu-1794-183632018-12-20T05:48:15Z Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image Koble, Sean Miyao, Daisuke Absolutism Distantiation Film Humanism New Wave Shinoda The narrative structure and formal style of the director Shinoda Masahiro's films reveal his ethical objective to encourage his viewer to engage with works of cinematic representation as the creative products of human agency that they are. Within his period films, Shinoda hopes to stimulate recognition of cinema's genealogical inheritance and reproduction of the absolutist propositions underlying traditional Japanese cultural forms. He posits that these have redirected essential human drives into masochistic self-effacement in tribute to a divine ideal imaged in the Imperial polity. By disrupting the illusion of cinematic realism which simply serves to reinforce Japanese culture's existent intertextual networks, Shinoda seeks to reground cultural expressions in their material and human origins. This acts as the first step to imagining a Japanese subject outside of the limited definitions posed by nostalgic absolutism and its reactionary antithesis in the equally self-destructive mode of global capitalism. 2014-09-29T17:45:45Z 2014-09-29T17:45:45Z 2014-09-29 Electronic Thesis or Dissertation http://hdl.handle.net/1794/18363 en_US All Rights Reserved. University of Oregon
collection NDLTD
language en_US
sources NDLTD
topic Absolutism
Distantiation
Film
Humanism
New Wave
Shinoda
spellingShingle Absolutism
Distantiation
Film
Humanism
New Wave
Shinoda
Koble, Sean
Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image
description The narrative structure and formal style of the director Shinoda Masahiro's films reveal his ethical objective to encourage his viewer to engage with works of cinematic representation as the creative products of human agency that they are. Within his period films, Shinoda hopes to stimulate recognition of cinema's genealogical inheritance and reproduction of the absolutist propositions underlying traditional Japanese cultural forms. He posits that these have redirected essential human drives into masochistic self-effacement in tribute to a divine ideal imaged in the Imperial polity. By disrupting the illusion of cinematic realism which simply serves to reinforce Japanese culture's existent intertextual networks, Shinoda seeks to reground cultural expressions in their material and human origins. This acts as the first step to imagining a Japanese subject outside of the limited definitions posed by nostalgic absolutism and its reactionary antithesis in the equally self-destructive mode of global capitalism.
author2 Miyao, Daisuke
author_facet Miyao, Daisuke
Koble, Sean
author Koble, Sean
author_sort Koble, Sean
title Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image
title_short Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image
title_full Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image
title_fullStr Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image
title_full_unstemmed Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image
title_sort acting the role of gods: shinoda masahiro's cinematic confrontations with the absolute image
publisher University of Oregon
publishDate 2014
url http://hdl.handle.net/1794/18363
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