Article

Japanese Modernism and “Cine-Text”: Fragments and Flows at Empire’s Edge in Kitagawa Fuyuhiko and Yokomitsu Riichi

William O. Gardner

in The Oxford Handbook of Global Modernisms

Published in print May 2012 | ISBN: 9780195338904
Published online September 2012 | | DOI: http://dx.doi.org/10.1093/oxfordhb/9780195338904.013.0024

Series: Oxford Handbooks

 Japanese Modernism and “Cine-Text”: Fragments and Flows at Empire’s Edge in Kitagawa Fuyuhiko and Yokomitsu Riichi

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This article notes that Kitagawa Fuyuhiko's writings from the 1920s and 1930s, together with the contemporaneous works of prose author Yokomitsu Riichi, are strongly marked by the confluence of the literary and the cinematic. Kitagawa and Yokomitsu's engagement with film was not limited to a fascination with the precision, objectivity, or mobility of the “camera eye.” Rather, it extended to the entire ability of the cinematic apparatus to capture the temporality of objects in motion, and of the ability of the filmmaker to organize segments of space into a new synthetic whole. The article explores this confluence through a brief examination of four instances of “cine-text”: Kitagawa' poetry collection War, Yokomitsu' novel Shanghai, the concept of literary formalism Yokomitsu proposed around the year 1930, and the theory of the “prose film” that Kitagawa unveiled in the following decade.

Keywords: film camera; camera eye; film editing; literary formalism; pose film; cine-text

Article.  12810 words. 

Subjects: Literature ; Literary Studies (20th Century onwards) ; Film

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