A Communal Haunt: Synchronicity and Betweenness in the Atemporal Films of Shimizu Takashi

Michael J. Blouin

doi:10.1386/ac.22.2.178_1

ISSN: 1059-440X
E-ISSN: 2049-6710

A Communal Haunt: Synchronicity and Betweenness in the Atemporal Films of Shimizu Takashi
By Michael J. Blouin
Source: Asian Cinema, Volume 22, Issue 2, Dec 2011, p. 178 - 195
DOI: https://doi.org/10.1386/ac.22.2.178_1
Language: English
- Published online: 01 Dec 2011

Previous Article
Table of Contents
Next Article

Abstract

Temporality plays a crucial role in Western modernity. Concepts such as progress and industrialism are born from static notions of time; by tracing the development of what came before, and aspiring towards what lies ahead, the modern subject is continuously caught in the forward motion of a calculated mechanism designed to keep time.

Article metrics loading...

/content/journals/10.1386/ac.22.2.178_1

2011-12-01

2024-04-25

Full text loading...

http://instance.metastore.ingenta.com/content/journals/10.1386/ac.22.2.178_1

Article Type: Article

Keyword(s):

Most Cited Most Cited RSS feed

- The Shinkokugeki and the Zenshinza: Western Representational Realism and the Japanese Period Film
  
  By S. A. Thornton
- The Japanese Film: A Personal View – 1947–1995
  
  By Donald Richie
- A Preliminary Study of the Market for Documentaries in Taiwan
  
  By Daw-Ming Lee
- Big Shot’s Funeral: China, Sony, and the WTO
  
  By Shujen Wang
- "Not Firing Arrows": Multiplicity, Heterogeneity and the Future of Documentary: Interview with Amar Kanwar
  
  By Anne Rutherford
- From Wenmingxi (Civilized Play) to Yingxi (Shadowplay): The Foundation of Shanghai Film Industry in the 1920s
  
  Authors: Dafeng Zhong, Zhen Zhang and Yingjin Zhang
- Contesting Indonesian Nationalism and Masculinity in Cinema
  
  By Intan Paramaditha
- Critical Reception of Rashomon in the West
  
  By Greg M. Smith
- Philippine Movies in 2001: The Film Industry Is Dead! Long Live Philippine Cinema!
  
  By Jr. Clodualdo del Mundo
- The History, Myth, and Memory of Maoist Chinese Cinema, 1949–1966
  
  By Greg Lewis
More Less

A Communal Haunt: Synchronicity and Betweenness in the Atemporal Films of Shimizu Takashi

Abstract

Most Read This Month

Most Cited Most Cited RSS feed