Japanese Cinema Bibliography

This bibliography contains English-language books and articles about Japanese cinema. It is long, but not complete. Suggestions for additions are more than welcome. Send them to Markus at amnornes@colby.edu, and we’ll update the bibliography periodically.

— Compiled by Abé Mark Nornes, with help from Joanne Izbicki.

This bibliography contains English-language books and articles about Japanese cinema. It is long, but hardly complete. Suggestions for additions are more than welcome.

— Last updated April 1996

Allyn, John. Kon Ichikawa: A Guide to References and Resources. (Boston: G. K. Hall, 1985).

Anderson, Joseph. “The History of Japanese Movies: They Have Been the Only Non-Occidental Films Ever to Equal Those of the West,” Films and Filming 4.6 (June-July 1953): 277-290.

Anderson, Joseph. “Japanese Film Periodicals,” The Quarterly Review of Film, Radio, and Television 9.4 (Summer 1955): 410-423.

Anderson, Joseph. “Japanese Swordfighters and American Gunfighters,” Cinema Journal 12 (Spring 1973): 1-21.

Anderson, Joseph. Review of Mizoguchi, Journal of Asian Studies 44.3 (May 1985): 620-621.

Anderson, Joseph. “Seven From the Past,” Sight and Sound 27.2 (Autumn 1956): 82-87.

Anderson, Joseph. “Some Second and Third Thoughts About the Japanese Film,” in The Japanese Film: Art and Industry (Expanded Version) (Princeton: Princeton Up, 1982), 439-456.

Anderson, Joseph. “The Spaces Between: American Criticism of Japanese Films,” Wide Angle 1.4 (1977): 2-6.

Anderson, Joseph. “Spoken Silents in the Japanese Cinema; or, Talking to Pictures: Essaying the Katsuben, Contexturalizing the Texts, in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 259-310. An earlier version appeared as “Spoken Silents in the Japanese Cinema: Essay on the Necessity of Katsuben,” Journal of Film and Video, 9.1, Winter 1988, pp. 13-33.

Anderson, Joseph. “When the Twain Meet: Hollywood’s Remake of Seven Samurai,” Film Quarterly 15.13 (Spring 1962): 55-58.

Anderson, Joseph and Donald Richie. “The Films of Heinosuke Gosho,” Sight and Sound 26 (Autumn 1956): 77-81.

Anderson, Joseph and Donald Richie. The Japanese Film: Art and Industry. (Tokyo: Tuttle, 1959). Expanded version: (Princeton: Princeton University Press, 1982).

Anderson, Joseph and Donald Richie. “Kenji Mizoguchi,” Sight and Sound 25.2 (Autumn 1955): 277-290.

Anderson, Joseph and Donald Richie. “Traditional Theater and Film in Japan,” Film Quarterly 12.1 (Fall 1958): 2-9.

Andrew, Dudley and Paul Andrew. Kenji Mizoguchi: A Guide to References and Resources (Boston: Hall, 1981).

Andrew, Dudley. “The Passion of Identification in the Late Films of Kenji Mizoguchi,” in Film in the Aura of Art (Princeton: Princeton University Press, 1984), 172-92.

Andrew, Dudley. “Saikaku ichidai onna,” in The International Dictionary of Films and Filmmakers: Vol. I — Films, ed. by Christopher Lyon (Chicago: St. James Press, 1984), 403-405.

Andrews, Nigel. “Sanjuro,” Monthly Film Bulliten 38 (January 1971): 14.

“Anti-American Films in Japan,” Films in Review (January 1954): 8-11.

Asanuma Keiji. “A Theory of the Cinema and Traditional Aesthetic Thought in Japan,” Iconics 16 (Spring 1993): 127-144.

Bacon, George. “Going to the Movies in the Far East,” Photoplay (April 1915): 151-153.

Ball, Edward. “Image Forum and the Tokyo Underground,” Afterimage 15.7 (February 1988): 3.

Barr, Stephen H. “Reframing Mizoguchi,” Film Criticism 8.1 (Fall 1983): 79-85.

Barrett, Gregory. Archetypes of the Japanese Cinema: The Sociological and Religious Significance of the Principle Heros and Heroines. (London: Associated University Press, 1989).

Barrett, Gregory. “Comic Targets and Comic Styles: An Introduction to Japanese Film Comedy,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 210-228.

Belton, John. “The Crucified Lovers of Mizoguchi.” Film Quarterly 25.1 (Fall 1971): 15-19.

Benedict, Ruth Fulton. “Japanese Films: A Phase of Psychological Warfare,” Foreign Morale Analysis Division, Office of War Information (RS53/2), Washington DC, March 30, 1944.

Bernardi, Joanne R. The Early Development of the Gendaigeki Screenplay: Kaeriyama Norimasa, Kurihara Thomas, Tanizaki Jun’ichiro, and the Pure Film Movement, PhD Thesis, Columbia University, New York (April 1992).

Blumenthal, J. “Macbeth into Throne of Blood,” Sight and Sound 34 (Autumn 1965): 191-195.

Bock, Audie. “The Essential Naruse,” in Mikio Naruse: A Master of the Japanese Cinema (Chicago: Chicago Film Center, 1984), 3-7.

Bock, Audie. Japanese Film Directors (Tokyo: Kodansha International, 1980).

Bock, Audie. “Kurosawa: His Life and Art,” in Japan Film Center — Kurosawa: A Retrospective (New York: Japan Society, 1981), 9-11.

Bock, Audie. “Kurosawa on His Innovative Cinema,” New York Times (4 October 1981): sec. 2, p. 21.

Bock, Audie. “Ozu Reconsidered,” Film Criticism 8.1 (Fall 1983): 50-53.

Bordwell, David. “A Cinema of Flourishes: Japanese Decorative Classicism of the Prewar Era,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 327-346.

Bordwell, David. “Mizoguchi and the Evolution of Film Language,” in Questions of Cinema, ed. by Stephen Heath and Patricia Mellencamp (Frederick MD: University Publications of America, 1983), 107-117.

Bordwell, David. Narration in the Fiction Film (Madison: University of Wisconsin Press, 1985).

Bordwell, David. “Our Dream-Cinema: Western Historiography and the Japanese Film.” Film Reader 4 (1979): 45-62.

Bordwell, David. Ozu and the Poetics of Cinema (Princeton: Princeton University Press, 1988).

Bordwell, David. review of To the Distant Observer, Wide Angle 3.4 (1980): 70-73.

Bordwell, David and Kristin Thompson. Film Art, An Introduction (New York: Alfred A. Knopf, 1986).

Bornoff, Nicholas. “Godzilla,” Japan Times (22 December 1984):13.

Bornoff, Nicholas. Pink Samurai: Love, Marraige and Sex in Contemporary Japan. (New York: Pocket Books, 1991).

Branigan, Edward. “The Space of Equinox Flower,” Screen 17.2 (Summer 1976): 74-105.

Branigan, Edward. “Subjectivity under Seige — From Fellini’s 8 1/2 to Oshima’s The Story of the Man Who Left His Will on Film,” Screen 19.1 (Spring 1978): 28-26.

Buckley, Sandra. “Le son de la violence: court-circuiter la voix dans la bande dessinée japonaise,” Iconics 16 (Spring 1993): 49-56.

Buehrer, Beverly. Japanese Films: A Bibliography and Commentary (Jefferson, NC: McFarland, 1990).

Burch, Noel. “Akira Kurosawa,” in Cinema: A Critical Dictionary, Vol. 1, ed. by Richard Roud, (New York: Viking, 1980), 571-582.

Burch, Noel. “Approaching Japanese Cinema,” in Cinema and Language, ed. by Stephen Heath and Patricia Mellencamp (Frederick, MD: University Publications of America, 1983).

Burch, Noel. “Oshima Nagisa and Japanese Cinema in the 60s,” in Cinema: A Critical Dictionary, Vol. 2, ed. by Richard Roud (London: Martin Secker and Warburg, 1980), 735-743.

Burch, Noel. To the Distant Observer: Form and Meaning in the Japanese Cinema (Berkeley: University of California Press, 1979).

Burch, Noel. Pour un observateur lointain: forme et signification dans le cinema japonais (Paris: Cahiers du Cinema/Gallimard, 1982).

Burress, Charles. “Disney—‘Lion’ is Original,” San Francisco Chronicle (14 July 1994): D1. (Influence of Tezuka on Disney.)

Buruma, Ian. Behind the Mask: On Sexual Demons, Sacred Mothers, Transvestites, Gangsters, Drifters and Other Japanese Cultural Heroes (New York: Pantheon, 1984).

Buruma, Ian. “Humor in Japanese Cinema,” East-West Journal 2.1 (December 1987): 26-31.

Cameron, Ian. “Nagisa Oshima Interview.” Movie 17 (Winter 1969-1970): 7-15.

Cameron, Ian. Second Wave (New York: Praeger, 1970).

Casebier, Allan. “College Course File: Japanese Film and Culture,” Journal of Film and Video 39.1 (Winter 1987): 52-64.

Casebier, Allan. “A Deconstructive Documentary,” Journal of Film and Video 40.1 (Winter 1988): 34-37.

Casebier, Allan. “Images of Irrationality in Modern Japan: The Films of Shohei Imamura,” Film Criticism 8.1 (Fall 1983): 42-49.

Casebier, Allan. “Oshima in Contemporary Theoretical Perspective,” Wide Angle 11.2 (1985): 4-17.

Casebier, Allan. “To the Distant Observer,” Millienium Film Journal 14/15 (Fall/Winter 1984-1985): 35-42.

Casebier, Allan. “Turning Back the Clock in Japanese Cinema Studies: Kurosawa, Keiko McDonald, Tadao Sato,” Quarterly Review of Film Studies 10.2 (Spring 1985): 166-169.

Chang, Joseph. “Kagemusha and the Chushingura Motif,” East-West Film Journal 3.2 (June 1989): 14-38.

Cherchi Usai, Paolo. “Filmarchief Tokio,” Skrien (Amsterdam) 185 (August-September 1992): 46-47.

Chupshisekor. “Enutomomo (‘Gazing’)” in In Our Own Eyes: From a Place Called Japan, ed. by Abé Mark Nornes and Daishima Haruhiko (Tokyo: Yamagata International Film Festival, 1991), 8-10. [Catalog contains information about Ainu in Japanese film.]

Cinema Year Book of Japan 1936-1937, ed. by Iijima Tadashi, Iwasaki Akira and Uchida Kisao (Tokyo: Sanseido Co., Ltd., 1937).

Cinema Year Book of Japan 1938, ed. by Iijima Tadashi, Iwasaki Akira and Uchida Kisao (Tokyo: Sanseido Co., Ltd., 1938).

Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan, ed. by Linda C. Ehrlich and David Desser (Austin, Tex: University of Texas Press, 1994).

Cohen, Robert. “Mizoguchi and Modernism: Structure, Culture, Points of View,” Sight and Sound 47.2 (Spring 1978): 110-118.

Cohen, Robert. Textual Poetics in the Films of Kenji Mizoguchi: A Structural Semiotics of Japanese Narrative (Dissertation, UCLA, 1980).

Cohen, Robert. “Toward a Theory of Japanese Narrative,” Quarterly Review of Film Studies 6.2 (Spring 1981): 181-200.

Cohen, Robert. “Why Does Oharu Faint? Mizoguchi’s The Life of Oharu and Patriarchal Discourse,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 33-55.

Crowl, Samuel. “The Bow is Bent and Drawn: Kurosawa’s Ran and the Shakespearean Arrow of Desire,” Film Literature Quarterly 22.2 (1994): 109-116.

Crowther, Bosley. “Ugetsu from Japan Offered at Plaza,” New York Times (8 September 1954): 40.

Davies, Anthony. Filming Shakespeare’s Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook, and Akira Kurosawa (New York: Cambridge UP, 1988).

Davis, William D. “Back to Japan: Militarism and Monumentalism in Prewar Japanese Cinema,” Wide Angle 11.3 (July 1989): 16-25.

Dawson, Jan. “Dialogue on Film: Masahiro Shinoda,” American Film 10.7 (May 1985): 10-13.

de Bary, Brett. “Not Another Double Suicide: Gender, National Identity, and Repetition in Shinoda Masahiro’s Shinjuten no Amijima,” Iconics 16 (Spring 1993): 49-56.

de Bary, Brett. Review of To the Distant Observer, Journal of Japanese Studies 8.2 (Summer 1982): 405-410.

De Feo, G. “Film Censorship in the Far East,” International Review of Educational Cinematography (3 January 1931): 41-46.

DeNitto, Dennis and William Herman. “Rashomon,” in Film and the Critical Eye (New York: Macmillan, 1975): 243-271.

Desser, David. “Akira Kurosawa: The Ironies of Success,” The USC Spectator 3.2 (Spring 1984): 12, 10.

Desser, David. “Early Summer,” in Magill’s Survey of Cinema: Foeign Language Films, Vol. 2 (Englewood Cliffs: Salem Press, 1985), 898-902.

Desser, David. Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema (Bloomington: Indiana University Press, 1988).

Desser, David. “Kurosawa’s Eastern ‘Western’: Sanjuro and the Influence of Shane,” Film Criticism 8.1 (Fall 1983): 54-65.

Desser, David. “Late Spring,” in Magill’s Survey of Cinema: Foreign Language Films, Vol. 4 (Englewood Cliffs: Salem Press, 1985), 1745-50.

Desser, David. Review of Mizoguchi, by Keiko McDonald, Film Quarterly 34.4 (Summer 1985): 34-35.

Desser, David. The Samurai Films of Akira Kurosawa (Ann Arbor: UMI Research Press Studies Center, 1983).

Desser, David. “Senso Daughters,” Education About Asia 1.1 (February 1996): 71.

Desser, David. “Toward a Structural Analysis of the Postwar Samurai Film,” Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 145-164. An earlier version is in Quarterly Review of Film Studies VIII/1 (Winter 1983): 25-41.

Desser, David. “Zen and the Art of Documentary,” East-West Journal 1.2 (1988): 45-59.

Dower, John. War Without Mercy: Race and Power in the Pacific War (New York: Pantheon, 1986), 253-254.

Ehrlich, Linda C. “Water Flowing Underground: The Films of Oguri Kohei,” Japan Forum 4.1 (April 1992): 145-162.

Eikan Kyu and Itami Juzo “Cops and Robbers of the Tax System,” Japan Echo 15.2 (1988): 40-45.

Erens, Patricia. Akira Kurosawa: A Guide to References and Resources (Boston: G.K. Hall, 1979).

Erens, Patricia. “Post-war Japanese Cinema: The Waves at Genji’s Door” Quarterly Review of Film Studies 4.2 (Spring 1979): 155-165. Eros Plus Massacre: Sex and Death in Japanese Cinema, catalogue from retrospective (Ontario: Art Gallery of Ontario, 1991).

Falk, Ray. “Introducing Japan’s Top Director,” New York Times (6 January 1952): 5.

Feith, Michel. “La Reorientation du Cinema Japonais Pendant l’Occupation Americaine (1945-1952), ” Revue Fancaise d’Etudes Americanes (France) 16.53 (1992): 223-231.

“The Filmdom of Japan,” Japan Magazine 19 (October 1928): 22-24.

Film Criticism 8.1 (Fall 1983), Arthur Nolletti, Jr., guest editor. Special issue on Japanese Cinema.

“Five Arrested in Slashing of Tokyo Filmmaker (Itami Juzo),” New York Times (4 December 1992): A4, 9.

Foster, Damon, ed. Special Issue on “Ninja Movies,” Oriental Cinema 1 (199_).

Foster, Damon, ed. Special Issue on “Robo-Heros,” Oriental Cinema 2 (199_).

Foster, Damon, ed. Special Issue on “Godzilla,” Oriental Cinema 4 (199_).

Foster, Damon, ed. Special Issue on “Gamera,” Oriental Cinema 6 (199_).

Foster, Damon, ed. Special Issue on “Live Action Mainly Non-Superhero Sci-Fi of Japan,” Oriental Cinema 8 (1995).

Fredriksen, John C. “Teaching History with Video: Japanese Perspective on the Second World War,” Film and History 18.4 (December 1988): 85-94.

Frieberg, Freda. “The Difference of Japanese Film,” in Papers and Forums on Independant Film and Asian Cinema, ed by B. Creed et al (Sydney: Australian Film and Television School, 1983), 185-202.

Freiberg, Freda. “Tales of Kageyama,” East-West Film Journal 6.1 (January 1992): 94-110.

Fujimoto Kazuko. “ ‘Tora-san’: Kiyoshi Atsumi Still Going Strong,” Japan Times (weekly overseas ed), (21 January 1989): 6.

“A Funeral With Humor: Japanese Director Breaks Taboos,” International Herald Tribune (6 May 1985): 16.

Geist, Kathe. “Narrative Strategies in Ozu’s Late Films,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 92-112.

Geist, Kathe. “Yasujiro Ozu: Notes on a Retrospective,” Film Quarterly 37 (Fall 1983): 2-9.

Gerow, A.A. “An Interview with Hara Kazuo,” Documentary Box 3 (30 August 1993): 12-18.

Gerow, Aaron. “Celluloid Masks: The Cinematic Image and the Image of Japan,” Iconics 16 (Spring 1993): 23-36.

Gerow, A.A. “If Ainu are Indians, Then What are Japanese?” Daily Bulletin (Yamagata International Documentary Film Festival) 3 (7 October 1993): 2.

Gerow A.A. and Makino Mamoru. “Prokino: An Interview with Komori Shizuo and Noto Setsuo,” Documentary Box 5 (15 October 1994): 6-14.

Gillett, John, and David Wilson, eds. Yasujiro Ozu: A Critical Anthology (London: British Film Institute, 1976).

Gillet, John, “Heinosuke Gosho: A Pattern of Living,” The National film Theatre Booklet (March 1986): 3-7.

Greenfield, Karl Taro. “Otaku: the Incredibly Strange Mutant Creatures Who Rule the Universe of Alienated Japanese Zombie Computer Nerds (Otaku to You),” Wired 1.1 (1993): 66-69.

Greenspun, Roger. “Mizoguchi and Ozu: Two Masters from Japan,” New York Times (9 July 1972): 7.

Grilli, Peter. “Introduction,” Japan Film Center — Kurosawa: A Retrospective (New York Japan Society, 1981), 3-5.

Grilli, Peter. Japan in Film: A Comprehensive Annotated Catalogue of Documentary and Theatrical Film in Japan Available in the U.S. (NY: Japan Society, 1984).

Handy, Truman B. “American Movies in Japan: Perhaps This Story Belongs on the Pages of the Better Photoplay League: Dr. Numata Tells How Japan Gets Better Pictures by Merely Demanding Them,” Photoplay (15 May 1919): 68, 109.

Hauser, William B. “Fires on the Plain: The Human Cost of the Pacific War,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 193-210.

Hauser, William B. “Women and War: The Japanese Film Image,” in Recreating Japanese Women, 1600-1945, ed. by Gail Lee Bernstein (Berkeley: UC Press, 1991), 296-313.

Heath, Steven. “Anata mo,” Screen 17.4 (Winter 1976/1977): 49-66.

Heath, Stephen. “The Question Oshima,” Wide Angle 2.1 (1977): 48-57; revised version in Questions of Cinema (Bloomington: Indiana University Press, 1981), 145-164.

“Heinosuke Gosho,” World Film Directors. Vol. I: 1890-1945, ed. by John Wakeman (New York: H. W. Wilson, 1987), 401-406.

High, Peter. “The Dawn of Cinema in Japan,” Journal of Contemporary History 19.1 (1984): 23-57.

High, Peter. “Oshima: A Vita Sexualis on Film.” Wide Angle 2.4 (1978): 25-27.

High, Peter. “The War Cinema of Imperial Japan and Its Aftermath: An Introduction,” Wide Angle 1.4 (1977): 19-21.

Hirano Kyoko, “The Banning of Japanese Period Films by the American Occupation,” Iconics (1987): 193-208.

Hirano Kyoko. “Heinosuke Gosho,” Directors/Filmmakers: The International Dictionary of Films and Filmmakers. Vol. II, ed. by Christopher Lyon (Chicago: St. James Press, 1984), 225-226.

Hirano Kyoko. “The Japanese Tragedy: Film Censorship and the American Occupation,” Radical History Review 41 (April 1988): 67-92.

Hirano Kyoko. “Making Films for All the People: an Interview with Akira Kurosawa,” Cineaste 14.4 (1986): 23-25.

Hirano Kyoko. Mr. Smith Goes to Tokyo: Japanese Cinema under the American Occupation, 1945-1952 (Washington: Smithsonian Institution Press, 1992).

Hirano Kyoko. “The Occupation and Japanese Cinema” in The Occupation of Japan: Arts and Culture, ed. by Thomas W. Burkman (Norfolk, VA: General Douglas MacArthur Foundation, 1988), 140-153.

Hoberman, J. “Film: Rebel Rouser,” Village Voice 28 (18 Oct. 1983): 62. [on Oshima]

Hogenkamp, Bert. “Workers’ Newsreels in Germany, the Netherlands and Japan Durin ghte Twenties and Thirties,” inToward a History and Aesthetics of the Committed Documentary ed. Thomas Waugh (Metuchen, NJ: The Scarecrow Press, 1984), 47-68.

Houston, Penelope. “The Festivals: Venice,” Sight and Sound 27.2 (Autumn 1957): 67-68.

Iida Shinbi. “Kurosawa,” trans. by Sekiguchi Hideo, Cinema (LA) 1.5 (August/September 1963): 28-31.

Imamura Taihei. “The ‘Japanese Spirit’ as it Appears in Movies,” in Japanese Popular Culture, ed. by Kato Hidetoshi (Tokyo: Tuttle, 1959), 137-150.

Imamura Taihei. “Japanese Art and the Animated Cartoon,” trans. Tsuruoka Furuichi, The Quarterly Review of Film, Radio and Television 7.3 (September 1953): 217-222.

Iwabutchi Masayoshi. “Japanese Cinema 1961,” Film Culture 24 (Spring 1961): 85-88.

Iwamoto Kenji. “Film Criticism and the Study of Cinema in Japan: A Historical Survey,” Iconics (1987).

Iwamoto Kenji. “Japanese Cinema Until 1930: A Consideration of its Formal Aspects,” Iris 16 (Spring 1993): 9-22.

Iwamoto Kenji. “Sound in the Early Japanese Talkies,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 311-326.

Iwasaki Akira. “Kurosawa and his Work,” Japan Quarterly 12.1 (January/March 1965): 61. Also see Japan Film Center — Kurosawa: A Retrospective (New York Japan Society, 1981), 12-16.

Janah. Monua. “Japanese Filmmaker’s Taxcapades,” Asian Wall Street Journal Weekly (25 April 1988): 15.

Japan Film Center — Kurosawa: A Retrospective (New York Japan Society, 1981). (Program for a Kurosawa film series, Oct. 9-Dec 20, 1981. Includes articles by Kurosawa, Peter Grilli, Audie Bock, Donald Richie, Sato Tadao, Iwasaki Akira: see listings under authors. Film notes on 25 films by Peter Grilli and David Owens. Photos.)

Japan Film Center — A Tribute to Toshiro Mifune (New York Japan Society, 1984). (Program for a 40-film retrospective of Mifune’s films, Mar. 7-Apr. 29, 1984. Introduction by David Owens. Film notes for all films in the series. Photos.)

Japan Film Center — Japan At War: Rare Films From World War II (New York Japan Society, 1987). (Program for “A retrospective of 27 films made in Japan between 1937-1947,” but only 26 films included in program. Introduction by David Owens. Film notes.)

“Japan Has Her Stars,” Graphic (London) 135 (9 April 1932): 533. (Hollywood influence on Japanese cinema.)

“Japanese Artists Equal Americans,” Trans-Pacific (Tokyo) 13 (14 August 1926): 14. (Interview with Minister of Education.)

Japanese Documentaries of the 1960s, ed. by Yasui Yoshio, Yano Kazuyuki, A.A. Gerow, Shinkawa Takahiro (Tokyo: Yamagata International Documentary Film Festival, 1993). [Contains essays by the following filmmakers: Matsumoto Toshio, Shinomiya Tetsuo, Ouchida Keiya, Noda Shinkichi, Matsukawa Yasuo, Kasu Sanpei, Haneda Sumiko, Yanagisawa hisao, Teshigahara Hiroshi, Mamiya Norio, Oshima Nagisa, Tokieda Toshie, Oe Masanori, Tsuchimoto Noriaki, Iimura Takahiko, Kitamura Minao, Higashi Yoichi, Nosaka Haruo, Hirano Katsumi, Yamagiwa Eizo, Mizuno Masaki, Iwasa Hisaya, and Takizawa Rinzo.]

Jensen Jorn Rossing. “Pink Cinema, Japanese Softcore Porn Struggles Against More Raunchy Rivals,” Moving Pictures 7 (March 1995): 9.

Joaas, S. “Currents in Japanese Cinema: Nagisa Oshima and Sachiko Hidari,” Cinema Papers 23 (September/October 1979): 500-503.

Johnson, William. “In Search of Kinuyo Tanaka,” Film Comment 30.1 (January-February 1994): 18-25.

Johnson, William. “The Splitting Image: The Contrary Canon of Heinosuke Gosho,” Film Comment 27.1 (January, February 1991): 74-78.

Judson, Hanford C. “A Love Story of Old Japan,” Moving Picture World 13 (31 August 1912): 864.

Kambara Keiko. “Image Making Beats Hard Sell,” Christian Science Monitor (14 September 1989): 9.

Kanai Katsu. “The Challenging Spirit of Ogawa Shinsuke,” Daily Bulletin (Yamagata International Documentary Film Festival) 2 (7 October 1993): 2.

Kasza, Gregory J. The State and the Mass Media in Japan 1918-1945 (Berkeley: UCal P, 1988).

Katsumura, T. “Japan’s Talking Films,” Japan Magazine 10 (January 1930): 189-190. (Sound film and benshi.)

Kauffman, Stanley. “Rashomon,” in Living Images: Film Comment and Criticism (New York: Harper and Row, 1974), 316-324.

Kehr, David. “The Last Rising Sun,” Film Comment 19.5 (September-October 1983): 32-40.

Kehr, David. “Naruse’s Women in Waiting…The Goal is Not to Progress But Somehow to Stay in Place,” notes for Chicago Film Center retrospective, (Chicago/October 1984): 1-2.

Kirihara, Donald. “Critical Polarities and the Study of Japanese Film Style,” Journal of Film and Video 34.1 (Winter 1987): 17-26.

Kirihara, Don. “Kabuki, Cinema and Mizoguchi Kenji,” in Cinema and Language, ed. by Stephen Heath and Patricia Mellencamp (1983). <

Kirihara, Donald. Patterns of Time: Mizoguchi and the 1930s (Madison: University of Wisconsin Press, 1992).

Kirihara, Donald, “A Reconsideration of the Institution of the Benshi,” Film Reader 6 (1985): 41-53.

Koch, Carl.”Japanese Cinema,” Close-up (London) (December 1931): 296-299.

Kogan, Rick. “It was a Long Time Coming, but Godzilla, This is your Life,” Chicago Tribune (15 September 1986): sec. 13, pp. 15-16.

Komatsu Hiroshi. “Dream Pictures in the Far East: The Discovery of the Komiya Collection,” Griffithiana 44-45 (1992): 1-5.

Komatsu Hiroshi. “Questions Regarding the Genesis of Nonfiction Film,” Documentary Box 5 (15 October 1994): 1-5.

Komatsu Hiroshi. “Some Characteristics of Japanese Cinema Before World War I,” trans. by Linda C. Ehrlich and Yuko Okutsu, in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 229-258.

Komatsu Hiroshi and Charles Musser. “Benshi Search,” Wide Angle 9.2 (1987): 72-90.

Komatsuzawa Hajime. Short essays on the following films: Momotaro’s Sea Eagle; Picture Book 1936 (Momotaro vs. Mickey Mouse); Princess iron Fan; Nippon Banzai, in Japan/America Film Wars: WWII Propaganda and its Cultural Contexts, ed. by Abé Mark Nornes and Fukushima Yukio (New York: Harwood, 1994).

Konshak, Dennis, J. “Space and Narrative in Tokyo Story,” Film Criticism 4.3 (Spring 1980): 31-40.

Korea Senda (Senda Koreya). “Proletarische Film-Bewegung in Japan,” Arbeiterbuehne und Film 18.2 (February 1931): 26-27.

Kurosawa Akira. The Complete Works of Akira Kurosawa, trans. by Don Kenny (Tokyo, 1971). (Seven [?] volumes of scripts from Kurosawa’s films, en face in Japanese and English, some photos.)

Kurosawa, Akira. Ikiru, trans. by Donald Richie, in Contemporary Japanese Literature: An Anthology of Fiction, Film, and Other Writing Since 1945, ed. by Howard Hibbett (New York; Knopf, 1982), 145-188. (Film script.)

Kurosawa Akira. “Kurosawa On Film and Filmmaking,” (“Eiga ni tsuite no zatsudan” [Comments on cinema] 1980), trans. by Audie Bock, in Japan Film Center. Kurosawa: A Retrospective (New York Japan Society, 1981), 23-27.

Kurosawa Akira. The Seven Samurai, trans. and introduction by Donald Richie, (New York: Simon and Schuster,1970). (Script.)

Kurosawa Akira. Ran (London: Shambhala, 1986).

Kurosawa Akira. Something like an Autobiography, translation by Audie Bock, (New York: Knopf, 1982).

Kwiny, Jonathon. “He Says, ‘aarghh!’ or Else ‘Yowwll!’ and Makes Millions,” Wall Street Journal (19 July 1977): 1, 21.

Lardner, James. Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR (New York: Norton, 1987).

Le Fanu, Mark. “To Love Is to Suffer: Reflections on the Later Films of Heinosuke Gosho,” Sight and Sound 55 (Summer 1986): 198-202.

Leach, James. “Mizoguchi and Ideology: Two Films from the Forties,” Film Criticism 8.1 (Fall 1983): 66-78.

Leerhsen, Charles. “Going Gaga for Godzilla,” Newsweek (28 July 1986): 60.

Lehman, Peter. “The Act of Making Films: An Interview with Oshima Nagisa,” Wide Angle 4.2 (1980): 56-61.

Lehman, Peter. “The Mysterious Orient, the Crystal Clear Orient, the Non-existent Orient: Dilemmas of Western Scholars of Japanese Film,” Journal of Film and Video 39 (Winter 1987): 5-15.

Lehman, Peter. “Oshima: The Avant-Garde Artist without an Avant-Garde Style,” Wide Angle 9.2 (1987): 18-31.

Leyda, Jay. “Films of Kurosawa,” Sight and Sound 24.2 (October/December 1954): 74-78, 112.

Lopate, Philip. “A Taste for Naruse,” Film Quarterly 39.4 (Summer 1986): 11-21.

Lufty, Carol. “Fade-out for an Industry,” Far Eastern Economic Review (17 December 1987): 55-56.

Lufty, Carol. “Portrait of a Fanatic,” Far Eastern Economic Review (17 December 1987): 56.

Ma Ning. “New Japanese Cinema as “Popular Cinema,” Film Views 33.135 (Autumn 1988): 38-39.

Malcomson, Scott L. “The Pure Land Beyond the Sea: Barthes, Burch and the Uses of Japan,” Screen 26.3,4 (May/August 1985): 23-33.

Mason, Gregory. “Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro,” East-West Journal 3.2 (June 1989): 39-52.

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McCormick, Ruth. “Masahiro Shinoda,” Art and Cinema 1.2 (Fall 1986): 6-7.

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McDonald, Keiko Iwai. “Family, Education, and Postmodern Society: Yoshimitsu Morita’s The Family Game,” East-West Film Journal 4.1 (December 1989): 53-68.

McDonald, Keiko. “Form and Function in Osaka Elegy,” Film Criticism 6.2 (Winter 1982): 35-44.

McDonald, Keiko. “Japan,” in The Asian Film Industry, ed. by John Lent (Austin: Univ. of Texas Press, 1990), 34-60.

McDonald, Keiko. “Kinji Fukasaku: An Introduction.” Film Criticism 8.1 (Fall 1983): 20-32.

McDonald, Keiko I. Japanese Classical Theater in Films (Rutherford: Fairleigh Dickinson University Press ; London : Associated University Presses, 1993).

McDonald, Keiko. Mizoguchi (New York: Twayne, 1984).

McDonald, Keiko. “Noh into Film: Kurosawa’s Throne of Blood,” Journal of Film and Video 39.1 (Winter 1987): 36-41.

McDonald, Keiko Iwai. “The Yakuza Film: An Introduction,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 165-192.

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Mellon, Joan. Voices from the Japanese Cinema (New York: Liveright, 1975).

Mellon, Joan. Waves at Genji’s Door: Japan Through its Cinema. (New York: Pantheon, 1976).

Meyers, Richard, Bill Palmer, Karen Palmer, and Amy Harlib. “Japan: Samurai Swordsman and Karate Killers,” in Martial Arts Movies: From Bruce Lee to the Ninjas (Secaucus, NJ: Citadel Press, 1985), 163-201.

Michaels, Lloyd. “Akira Kurosawa, Something Like an Autobiography,” Film Criticism 8.1 (Fall 1983): 107-111. (Review)

Minami Hiroshi. “A Survey of Postwar Japanese Movies,” in Japanese Popular Culture, ed. by Kato Hidetoshi (Tokyo: Tuttle, 1959), 126-136.

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Newitz, Annalee. “Anime Otaku: Japanese Animation Fans Outside Japan,” Bad Subjects (April 1994): 13-20.

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Nolletti, Arthur Jr. and David Desser, ed. Reframing Japanese Cinema: Authorship, Genre, History (Bloomington: Indiana, 1992).

Nolletti, Arthur Jr. “Where Chimneys Are Seen,” in Magill’s Survey of Cinema: Foreign Language Films, vol. 7, ed. by Frank N. Magill (Englewood Cliffs: Salem Press, 1985), 3360-65. (on Gosho)

Nolley, Kenneth S. “The Western as Jidai-geki,” Western American Literature 11.3 (1976): 231-238.

Nornes, Abé Mark. “The Body at the Center: The Effects of the Atomic Bomb on Hiroshima and Nagasaki,” in Hibakusha Cinema, ed. by Mick Broderick (forthcoming).

Nornes, Abé Mark. “Cherry Trees and Corpses: Representations of Violence from WWII,” in Japan/America Film Wars: WWII Propaganda and its Cultural Contexts, ed. by Abé Mark Nornes and Fukushima Yukio (New York: Harwood, 1994), 121-146.

Nornes, Abé Mark. “Context and The Makioka Sisters,” East-West Film Journal (Spring 1991): 34-45.

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Nornes, Abé Mark. “Documentarists of Japan Series: Haneda Sumiko,” Documentary Box (September 1992): 9-13.

Nornes, Abé Mark. “Documentarists of Japan Series: Suzuki Shirôyasu,” Documentary Box (July 1993): 5-10.

Nornes, Abé Mark. “Documentarists of Japan Series: Yanagisawa Toshio,” Documentary Box (October 1993): 3-7.

Nornes, Abé Mark. “The Men With the Yen: ‘Booms’ and the Bottom Line,” Montage (Spring 1992): 25-28.

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Nornes, Abé Mark. “Ozu Yasujiro,” The Encyclopedia of Film (New York: Baseline, 1991): 410-411.

Nornes, Abé Mark. “Unearthing Japaneseness: Magino Village — A Tale,” 1988 Hawai’i International Film Festival Viewers Guide (Fall l988): 59-61.

Nornes, Abé Mark. “We Are Working So So Hard (Watashitachi ha sonna ni hataraite iru),” in Japan/America Film Wars: WWII Propaganda and its Cultural Contexts, ed. by Abé Mark Nornes and Fukushima Yukio (New York: Harwood, 1994).

Nornes, Abé Mark and Fukushima Yukio, ed. Media Wars: Then & Now (Tokyo: Cinematrix, 1991).

Nornes, Abé Mark and Yeh Yueh-yu. “Hou and Ozu,” in “Narrating National Sadness: Cinematic Mapping and Hypertextual Dispersion,” Cinema Space (Summer 1994).

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“Okuyama on the Shochiku Strategy,” Variety (4 March 1987): 51, 60.

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Oshima Nagisa special issue, Wide Angle 9.2 (1987).

Oshima Nagisa. “Back-Pages: Before ATG,” in Eiga: 25 Years of Japanese Cinema (Program of the 1984 Edinburgh International Film Festival), 12-13.

Oshima Nagisa. “Oshima on Oshima,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 86-90.

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Ozu Yasujiro and Noda Kogo. “Tokyo Story,” trans. by Donald Richie and Eric Klestadt, in Contemporary Japanese Literature, ed. by Howard Hibbett (NY: Knopf), 188-237.

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Rayns, Tony, ed. Eiga: 25 Years of Japanese Cinema (Program of the 1984 Edinburgh International Film Festival). (Includes essays and interviews by Tony Rayns, Sato Tadao, Oshima Nagisa, Terayama Shuji and Obayashi Norihiko, Yamakawa Naoto and Nagasaki Shunichi; plus brief synopses and commentary on 40 films from 1960 to 1983, with abridged filmographies.)

Rayns, Tony. “Last Rite,” Time Out (___): 23.

Rayns, Tony. “Nails that Stick Out: A New Independant Cinema in Japan,” Sight and Sound (Spring 1986): 98.

Rayns, Tony. “ ‘Run at your own pace’ ” in Eiga: 25 Years of Japanese Cinema (Program of the 1984 Edinburgh International Film Festival), 8-9.

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Richie, Donald. “Eight Takes are Just Fine for Japan’s Director Itami,” Far Eastern Economic Review (10 March 1988): 43.

Richie, Donald. The Films of Akira Kurosawa (Berekeley: Univeersity of California Press, 1984). Japanese translation covers Kurosawa’s films of the 1990s.

Richie, Donald. Geisha, Gangster, Neighbor, Nun: Scenes from Japanese Lives (Tokyo: Kodansha, 1987). (Several short commentaries on Japanese directors and actors.)

Richie, Donald. Ikiru: A Film by Akira Kurosawa (New York: Simon and Schuster, 1968).

Ritchie, Donald. “The Inn Sequence from Ozu’s Late Spring,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 92-112.

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Richie, Donald. Japanese Cinema: Film Style and National Character (New York: Anchor, 1971).

Richie, Donald. The Japanese Movie (Tokyo: Kodansha, 1982).

Richie, Donald. “Kurosawa on Kurosawa,” Sight and Sound 33.3 (Summer 1964): 109.

Richie, Donald. “Kurosawa: Scenes and Episodes,” in Japan Film Center — Kurosawa: A Retrospective (New York Japan Society, 1981), 17-19.

Richie, Donald. “The Late Films of Yasujiro Ozu,” Film Quarterly 13.1 (Fall 1959): 21.

Richie, Donald. A Lateral View: Essays on Contemporary Japan (Tokyo: The Japan Times, Ltd., 1987). (Section V on Japanese cinema: “Women in Japanese Cinema,” “The Japanese Eroduction,” and “A Definition of the Japanese Film.”)

Richie, Donald. “Notes on Mitsuo Yanagimachi: A New Japanese Director,” Film Criticism 7.1 (1983).

Richie, Donald. Ozu (Berkeley: University of California Press, 1974).

Richie, Donald. “A Personal Record,” Film Quarterly 14.1 (Fall 1959): 20-30.

Richie, Donald. “A View of the Japanese Cinema — The Asian Bookshelf,” Japan Times (sometime in 1979).

Richie, Donald. “Viewing Japanese Film, Some Considerations,” East-West Film Journal 1.1 (1985): 23-35.

Richie, Donald. “Yasujiro Ozu,” Film Quarterly 17.2 (Winter 63-64).

Roberts, Tracy. “Japan’s beloved trinket peddler goes international,” Japan Times (weekly overseas ed.), (10 June 1989): 5.

Robinson, David. “Travels with Mrs. Kawakita,” Sight and Sound 61.4 (Autumn 1987): 253, 255.

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Rosenbaum, Jonathon. “Mizoguchi in English,” review of McDonald’s book, Quarterly Review of Film Studies (Winter 1985): 75-76.

Rosenbaum, Jonathan, Kristin Thompson, and David Bordwell. Correspondence exchange in Screen 17.4 (Winter 1976/77): 121-124. (On Thompson and Bordwell’s “Space and Narrative in the Films of Ozu”.)

Rubin, Martin. “Early Spring,” in Magill’s Survey of Cinema: Foreign Language Films, Vol. 2 (Englewood Cliffs: Salem Press, 1985), 892-897.

Rubin, Martin. “Late Autumn,” in Magill’s Survey of Cinema: Foreign Language Films, Vol. 2 (Englewood Cliffs: Salem Press, 1985), 1739-1744.

Ruoff, Kenneth J. and Jeffrey K. “Japan’s Outlaw Filmmaker: An Interview with Hara Kazuo,” Iconics 16 (Spring 1993): 103-114.

Ruoff, Kenneth J. and Jeffrey K. “Filming at the Margins: The Documentaries of Hara Kazuo,” Iconics 16 (Spring 1993): 115-126.

Russell, Catherine. review of Eros Plus Massacre. Cineaste 16.4 (1988): 50-59.

Ryu, Chishu. “Ozu and I: Reflections of My Mentor,” Cinema 6.1 (1970): 6.

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Sato, Tadao. “The Art of Yasujiro Ozu (5).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 8, 1976, pp. 96-84.

Sato, Tadao. “The Art of Yasujiro Ozu (4).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 7, 1975, pp. 96-84.

Sato, Tadao. “The Art of Yasujiro Ozu (3).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 6, 1975, pp. 96-85.

Sato, Tadao. “The Art of Yasujiro Ozu (2).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 5, 1974, pp. 96-85.

Sato, Tadao. “The Art of Yasujiro Ozu (6).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 9, 1977, pp. 96-88.

Sato, Tadao. “The Art of Yasujiro Ozu (8).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 11, 1978, pp. 96-91.

Sato, Tadao. “The Art of Yasujiro Ozu (7).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 10, 1977, pp. 96-91.

Sato Tadao. “The Comedy of Ozu and Chaplin,” Wide Angle 3.2 (1979): 50-53.

Sato Tadao. Currents in Japanese Cinema, trans by Gregory Barrett (Tokyo: Kodansha International, 1982).

Sato Tadao. “Enter the New Generation,” in Eiga: 25 Years of Japanese Cinema (Program of the 1984 Edinburgh International Film Festival), 10-11.

Sato Tadao. “The Everyday Films of Juzo Itami,” Japan Quarterly 34.3 (1988): 291-94.

Sato Tadao. “The Influence of American Film upon Japan (2).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 14, 1979, pp. 96-93.

Sato Tadao. “The Influence of American Film upon Japan (1).” Eiga-shi Kenkyu (The Study of the History of the Cinema), no. 13, 1979, pp. 96-94.

Sato Tadao. “Japanese Cinema Today,” Cinema India International 5.1 (1988): 122-123.

Sato Tadao. “Kurosawa’s Heroes and Japanese Tradition,” trans. by David Owens, in Japan Film Center — Kurosawa: A Retrospective (New York Japan Society, 1981), 20-22.

Sato Tadao. “On Kenji Mizoguchi,” Film Criticism 4.3 (Spring 1980): 2-16.

Sato Tadao. “Oshima and Bowie: Culture Shock,” American Film 8.10 (September 1983): 26-28.

Sato Tadao. “Oshima: Sex, Militarism and Empire,” American Film 8.10 (Sept. 1983): 28.

Sato Tadao. “Tokyo on Film,” trans. by Larry Greenberg, East-West Film Journal 2 (June 1988): 1-12.

Sato Tadao. “War as a Spiritual Exercise: Japan’s ‘National Policy Films,’” Wide Angle 1.4 (1977): 22-24.

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Schilling, Mark. “Into the Heartland with Tora-san,” Japan Quarterly 40.2 (April-June 1993): 199-206.

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Schrader, Paul. Transcendental Style in Film: Ozu, Bresson, Dreyer (Berkeley: University of California Press, 1972).

Schrader, Paul. “Yakuza Eiga: A Primer,” Film Comment 10.1 (January 1974): 9-17.

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“Shibamata Locals are Tora-san Lovers,” Japan Times (weekly overseas ed.), (10 June 1989): 5.

Shimizu Akira. “War and Cinema in Japan,” in Japan/America Film Wars: WWII Propaganda and its Cultural Contexts, ed. by Abé Mark Nornes and Fukushima Yukio (New York: Harwood, 1994), 7-58.

Silberman, Robert. “Masahiro Shinoda, Hiromi Go, and the Performing Self,” Wide Angle 10.2 (1988): 24-31.

Silberman, Robert. “Gonza the Spearman,” Film Quarterly 41.2 (Winter 1987/1988): 55-59.

Silver, Alain. The Samurai Film (Woodstock, New York: Overlook, 1983).

Silverberg, Miriam. “Remembering Pearl Harbor, Forgetting Charlie Chaplin, and the Case of the Disappearing Western Woman: a Picture Story,” Positions 1.1 (Spring 1993): 24-76.

Sinkler, Scott. “A Foreign View of the Japanese Documentary Scene,” Documentary Box 3 (30 August 1993): 1-7.

Sipe, Jeffrey. “Death and Taxes,” Sight and Sound 58.3 (Summer 1989): 186-189.

Shiraishi Yoko. “Yamagata, the Womb of Dreams,” Daily Bulletin (Yamagata International Documentary Film Festival) 2 (7 October 1993): 3.

Smith, Patrick L. “Cinematic Crossroads: Where is Japan Going?” International Herald Tribune (19 August 1988): 9, 11.

Sodetani, Naomi. “Benshi and Me,” Aloha Magazine (May/June 1986).

Sorgenfrei, Carol Jay. Shuji Terayama: Avant Garde Dramatist of Japan. Dissertation, UC Santa Barbara, 1978.

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Suzuki Kazuo. “Itami Juzo, Director Extraordinaire,” Japan Quarterly 40.3 (July-September 1993): 329-335.

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Tada Michitaro. “The Destiny of Samurai Films,” East-West Film Journal 1.1 (1985): 48-58.

Tanaka Koki. “Shochiku: Its Great Directors and I,” Variety (4 Mmarch 1987): 56.

Taylor, Lois. “The Return of the Benshi,” Star-Bulliten (Honolulu), (10 April 1986): sec. D, pp. 1-6.

Terayama Shuji and Obayashi Norihiko. “Independent Films: from the 70s to the 80s,” in Eiga: 25 Years of Japanese Cinema (Program of the 1984 Edinburgh International Film Festival), 16-18.

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Tessier, Max. “Oshima Nagisa, or The Battered Energy of Desire,” in Reframing Japanese Cinema: Authorship, Genre, History, ed. by Arthur Nolletti, Jr. and David Desser (Bloomington: Indiana, 1992), 69-91.

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Thompson, Kristin. Breaking the Glass Armor: Neoformalist Film Analysis (Princeton: Princeton University Press, 1988).

Thompson, Kristin. “Notes on the Spacial System of Ozu’s Early Films,” Wide Angle (__) 8-17.

Three Decades: Postwar Japanese Society Through Film (Japan Film Library Council [Tokyo] and The Japan Society [New York], 1978?). (Program for a 12-film series. Introduction by Donald Richie, film notes by Audie Bock.)

“Toho at 50 Years: Nothing comparable in U.S.” Variety (12 May 1982): 325.

“Toho Topper — Japan No. 1 Monopoly,” Variety (4 May 1983): 339.

A Tribute to the Kawakita Memorial Film Institute (Honolulu: Hawaii International Film Festival, 1991). (Program for 11th festival; includes essay on Nagamisa and Kashiko Kawakita by Donald Richie, brief production data and notes on seven films.

Tsurumi Shunsuke and Kogawa Tetsuo. “When the Human Beings are Gone … The Effects of the Atomic Bombs on Hiroshima and Nagasaki,” in Japan/America Film Wars: WWII Propaganda and its Cultural Contexts, ed. by Abé Mark Nornes and Fukushima Yukio (New York: Harwood, 1994), 165-182.

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Turim, Maureen. “The Erotic in Asian Cinema,” Dirty Looks - Women, Porno, Power, ed. Pamela Church Gibson and Roma Gibson (Bloomington: Indiana, 1993).

Turim, Maureen. Flashbacks in Film: Memory & History (New York: Routledge, 1989). (Chapter 3: “European and Japanese Experimentation with Flashbacks in Silent films,” 61-102.)

Turim, Maureen. “Psyches, Ideologies, and Melodrama: The United States and Japan,” East-West Film Journal 5.1 (January 1991): 118-143.

Turim, Maureen. “Rituals, Desire, Death in Oshima’s Ceremonies,” Enclitic 5.2/6.1 (Fall 1981-Spring 1982): 181-189.

Turim, Maureen and John Mowitt, “Thirty Seconds over … Oshima’s The War of Tokyo or The Young Man Who Left His Will on Film,” Wide Angle 1.4 (1977): 34-43.

Tyler, Parker. Classics of the Foreign Film: A Pictorial Treasury (New York: Citadel Press,1962). (Brief discussions, with photos, of Rashomon, Ugetsu, Gate of Hell, Throne of Blood.)

Ueno Koshi. “Ogawa Shinsuke and Asian Filmmakers,” Daily Bulletin (Yamagata International Documentary Film Festival) 2 (7 October 1993): 1.

Ueno Toshiya. “The Other and the Machine,” in Japan/America Film Wars: WWII Propaganda and its Cultural Contexts, ed. by Abé Mark Nornes and Fukushima Yukio (New York: Harwood, 1994), 71-94.

“U.S. Majors Saw Their Japanese Take Shrink by 10% in 1988,” Variety (25-31 January 1989): 22.

Vasey, Ruth. Macbeth into Throne of Blood: West to East and Theatre to Film. Master’s Thesis, University of Hawaii, 1983.

Watabe Minoru. “Japanese Documentary Films of Recent Years,” Documentary Box 1 (29 September 1992): 5-8.

West, Anthony. “The Art of Akira Kurosawa,” Show 2.7 (July 1962): 58-62.

Whitaker, Sheila. Review of To the Distant Observer. Framework 11 (Autumn 1979): 47-48.

Williams, David. “Kenji Mizoguchi,” in World Film Directors: Volume One — 1980-1945, ed. by John Wakeman (New York: H. W.. Wilson, 1987), 787-803.

Willis, Don. “Yasujiro Ozu: Emotion and Contemplation,” Sight and Sound 49.1 (Winter 1978-9): 44-49.

Wood, Robin. “The Ghost Princess and the Seaweed Gatherers,” in Personal Views: Explorations in Film (London: Gordon Fraser, 1976), 227-248.

Wood, Robin. “Poet of the Cinema,” Times Educational Supplement 3122 (March 28, 1975): 86.

Wooster, Ann-Sargent. “Made in Japan (New Video: Japan),” Afterimage (Summer 1986): 18-19.

Yamada Kazuo. “Das soziale Erwachen des japanischen Films,” in Dokumentarfilm in Japan, Seine demokratische und kaempferische Traditionen (Berlin: Staatliches Filmarchiv der DDR, 1976), 29-40.

Yamakawa Naoto and Nagasaki Shunichi. “Around Film-making,” in Eiga: 25 Years of Japanese Cinema (Program of the 1984 Edinburgh International Film Festival), 19-21.

Yamane Sadao. “1960s Japanese Cinema and Ogawa Shinsuke,” Daily Bulletin (Yamagata International Documentary Film Festival) 5 (7 October 1993): 1-2.

Yamane Sadao. “Changes in 1960s Documentary Cinema: From PR Films to Image Guerillas,” in Japanese Documentaries of the 1960s (Tokyo: Yamagata International Documentary Film Festival, 1993): 14-20.

Yamane Sadao. Short essays on the following films: Greater East Asia News #1 — Air Attacks Over Hawaii; Lifeline of the Sea; Japan in Time of Crisis; Diary of Boys Reclaiming the Land; China Incident; Introduction to Our Weaponry Series: The Fighting Homefront; Fighting Young Citizens; Sending off Our Students; Weapons of the Heart; Sacred Soldiers of the Sky; Soldiers at the Front (Fighting Soldiers); A Japanese Tragedy; in Japan/America Film Wars: WWII Propaganda and its Cultural Contexts, ed. by Abé Mark Nornes and Fukushima Yukio (New York: Harwood, 1994).

Yoshimoto Mitsuhiro. “The Difficulty of Being Radical: The Discipline of Film Studies and the Postcolonial World Order,” in Japan in the World, ed. by Masao Miyoshi and H.D. Harootunian (Durham: Duke UP, 1993), 338-354; also in boundary 2 18.3 (1991).

Yoshimoto, Mitsuhiro. “Melodrama, Postmodernism, and the Japanese Cinema,” East-West Film Journal 5.1 (January 1991): 28-55.

Yoshimoto Mitsuhiro. “The Postmodern and Mass Images in Japan,” Public Culture I/2 (1989): 8-25. Also published as “Le postmoderne et les images de masse au Japon,” Iconics 16 (Spring 1993): 145-164.

Young, Vernon. “The Japanese Film: Inquiries and Inferences,” Hudson Review 8.3 (Autumn 1955): 436-442.

Young, Vernon. On Film: Unpopular Essays on a Popular Art (New York: Quandrangle, 1972). (Essays on Japanese films: “The Japanese Film: Inquiries and Inferences,” 51-58; “International Film Scene: Asia, Italy, and Mexico,” 95-103; “The Hidden Fortress: Kurosawa’s Comic Mode,” 115-121; “Films from the Perimeter,” 263-272; “Three Filmmakers Revisit Themselves,” 284-292; “International Film: Tensions and Pretensions,” 293-304; “My First Love (Japan),” 373-376.