The cinematic experience in Taisho Japan was a defining part of a spectrum of modernity's experiences associated with daily urban life. This paper argues that rather than theorizing film in rational terms common to "serious" film criticism focussing on aspects of production, Ozaki Midori envisioned the cinematic experience from the standpoint of an enthralled spectator, in terms of a sensual, bodily interaction with the cinematic image. Given the over-determined relationship of women to mass culture, one that is wrought with contradictions, Ozaki's writings on film open up the question of gender as it relates to spectatorship and the development of subjectivity within mass culture. Ozaki writes from a perspective within the cinematic experience in which the boundaries between spectator and image collapse. Ozaki offers a new mode of thinking and writing, a poetics of distraction to articulate and comprehend the modern experience.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.81492 |
| Date | January 2004 |
| Creators | Gibb, Adrienne |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Department of East Asian Studies.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 002179607, proquestno: AAIMR06509, Theses scanned by UMI/ProQuest. |
Page generated in 0.002 seconds