This project examines the spatial relationships that exist between Winnipeg, Canada and Tokyo, Japan, with the intent to develop an understanding of the preciseness of the world. Different site-specific systemic conditions were used as critical tools to explore the implication of distinct design catalysts and inhibitors. I have concentrated on the relationships that exist between time and space, to identify and displace localized, momentary events that exist in one site to the other. Familiarities of my local surroundings were deliberately obscured to make explicit a heightened awareness of my position on the planet. This helps to facilitate discussions. I have created a space that is dissembled through abstract understandings of displaced elements in the environment. It is my intention for this space to be experienced in a different way each time we come across it, by shifting and changing ones perception of their character in the world.

This project examines the spatial relationships that exist between Winnipeg, Canada and Tokyo, Japan, with the intent to develop an understanding of the preciseness of the world. Different site-specific systemic conditions were used as critical tools to explore the implication of distinct design catalysts and inhibitors. I have concentrated on the relationships that exist between time and space, to identify and displace localized, momentary events that exist in one site to the other. Familiarities of my local surroundings were deliberately obscured to make explicit a heightened awareness of my position on the planet. This helps to facilitate discussions. I have created a space that is dissembled through abstract understandings of displaced elements in the environment. It is my intention for this space to be experienced in a different way each time we come across it, by shifting and changing ones perception of their character in the world.

Thesis (Ph.D.)--Tufts University, 2005. / Chair: Gary Leupp. Submitted to the Dept. of Interdisciplinary Studies. Includes bibliographical references (leaves 185-189). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (D. Miss.)--Trinity Evangelical Divinity School, 1994. / Includes Japanese translation of Tamagawa Seigakuin graduate and teacher questionnaires. Abstract. Includes bibliographical references (leaves 237-246).

This study examines postwar Japanese photography and the influence of World War Two, the Allied Occupation (1945-1952), and social and economic transformations during the Era of High-Speed Growth (1955-1970) on ways in which photographers approached and depicted reality. In the late 1940s, censorship erased the reality of a devastated society and evidence of the Allied Occupation from photography magazines. Once censorship ended in 1949, photographers reacted to miserable living conditions, as well as the experience of producing wartime propaganda, by confronting reality directly. Finally, photographers responded to social transformations and resulting challenges during the Era of High-Speed Growth by shifting from an objective reporting to a subjective critique of reality. A study of photography from 1945 to 1970 not only demonstrates how socio-historical forces influence photography but also reveals key changes in Japanese society and the urban landscape as Japan transitioned from a defeated, occupied nation to an economic powerhouse.

Within the broader literature on migration, Japan is often portrayed as straddling two categories, one of a homogenous country and another of a multicultural society. The arguments on both sides are supported through the historical evidence, analysis of media resources, as well as narratives of Japanese residents. This inquiry seeks to highlight voices of migrants within these debates. This dissertation focuses on the urban – rural residential experiences of international migrants in Kanto and Tohoku regions. This inquiry treats international migration processes in terms of moving between the contexts of different countries as well as between urban – rural locations. These global – local experiences of migrants are set within broader milieu of the social and spatial stratifications created through neoliberal competition. The theoretical framework for this analysis is based on post-structural understandings of identity, migration, and economy. This study draws on qualitative methods, including, ethnographic data, interviews, content and textual analysis of job advertisements, as well as cognitive mapping. These sources allow us to create a unique portrait of migrant subjectivity that pulls from different contexts of fluid, spatial identities which mediate migrants’ interpretations of living and working in neoliberal Japan. The findings of this dissertation support the thesis that intersectional social identities such as gender, ethnicity, and social class, have a spatial component.

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Orientador: Gilberto Alexandre Sobrinho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T22:55:13Z (GMT). No. of bitstreams: 1 Ishii_RegianeAkemi_M.pdf: 6759325 bytes, checksum: 58e1d65d408f67ebcc4a99ad2a50af31 (MD5) Previous issue date: 2015 / Resumo: Este trabalho propõe a análise de investimentos espaciais e processos de significação em filmes realizados em Tóquio por diretores não japoneses, na década de 2000. Nosso interesse recai sobre a relação entre cinema e cidade, tomando como principal aporte teórico as ideias de Giuliana Bruno, em Atlas of Emotion ¿ Journeys in Art, Architecture, and Film (2007). Assim, debruçamo-nos sobre as jornadas singulares dos títulos selecionados, analisando como cada filme, ao tomar como ponto de partida o espaço real de Tóquio, atualiza um novo espaço fílmico. Evidenciando as marcas de enunciação destes filmes, também investigamos como o espectador é convocado a confrontar uma emoção geográfica. No início, refletimos sobre a ligação entre o cinema, a arquitetura e a viagem, e fazemos um breve histórico de títulos que se dedicaram a filmar Tóquio. Em seguida, são analisados os três filmes que compõem o corpus da pesquisa: Encontros e Desencontros (Lost in Translation, 2003), de Sofia Coppola, Babel (2006), de Alejandro González Iñarritu, e Enter the Void (2009), de Gaspar Noé / Abstract: This work proposes the analysis of spatial investments and processes of meaning in films made in Tokyo by non-Japanese directors, in the 2000s. Our interest is focused on the relationship between cinema and city, taking as main theoretical contribution the ideas of Giuliana Bruno in Atlas of Emotion - Journeys in Art, Architecture, and Film (2007). Thus, we address to the singular journeys of selected titles, analyzing how each film, by taking as starting point the real space of Tokyo, updates a new filmic space. Having as evidence the marks of enunciation of these films, we also investigate how the viewer is called upon to confront a geographic emotion. At first, we reflect on the link between cinema, architecture and travel, and do a brief historical review of titles that were dedicated to film Tokyo. Then, the three films that make up the corpus of the research are analyzed: Lost in Translation (2003), by Sofia Coppola, Babel (2006), by Alejandro González Iñarritu, and Enter the Void (2009), by Gaspar Noé / Mestrado / Artes Visuais / Mestra em Artes Visuais

The project consists in developing a 100mt high tower, harmonizing with contemporary Japanese architecture, as a symbol of vanguard and daring, in addition serving as a landmark for Tokyo city. The museum houses expositions of the fashion history of the 20th century, and also exhibition space where contemporary fashion designers present their recent work, it counts with a basic program that will occupy less than a 4,000m2 area. The project will be located on a determined plot at Omotesando Street in Tokyo. There is also a space where models will parade for a selected audience; it projects outside the main structure of the building , allowing pedestrian and other building’s users from different areas of the city to watch the fashionshows. The Japanese garden at the very top of the building has the traditional Japanese vegetation and components, suitable for Tokyo’s wheather.

La thèse de doctorat « Horizons perdus : comment le cinéma expérimental et la sculpture ouvrent à l’installation » explore l’idée d’animer un collage. Elle regroupe un ensemble d’œuvres, de natures diverses.Voyage circulaire en Asie, le projet est structuré en trois stations : Phnom Penh, Tokyo et Lhassa.Du filmage de ces villes à l’exposition finale, la pratique du collage est centrale. D’un médium à l’autre, d’une séquence à l’autre, il s’agit de découper des formes et de les présenter dans un nouveau contexte. Migration d’images, montage, composition… le collage a engagé une série de questions dont les réponses ont façonné ce travail.Dans la thèse, les villes sont autant un sujet d’étude qu’un modèle conceptuel. Les œuvres sont comme des architectures. Ce sont des espaces clos, d’essence sculpturale, qui se doivent ensuite d’entrer en relation afin de constituer un tout.Le titre « Horizons perdus » est peut-être la nostalgie de cette totalité. / “Lost Horizons: how experimental cinema and sculpture open to installation” is a diverse collection of work which explores the idea of animating a collage.The project is a circular voyage through Asia, structured in three stations: Phnom Penh, Tokyo and Lhassa.The practice of collage is central throughout the entire project. From filming these cities to the final exhibition, one medium to another, one sequence to the next, it is all a matter of cutting out forms and presenting them in a new context. Collage has engaged a series of questions - about image migrations, editing, and composition - whose answers have shaped the work.This thesis treats cities as much a subject of study as a conceptual model. Like architecture, and by extension, urbanism, the collages are conceived as enclosed spaces built to be lived in, and must enter into a relationship in order to constitute a whole.The title “Lost Horizons” is perhaps the nostalgia of this totality.