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Zusatztext Deleuze, Japanese Cinema, and the Atom Bomb: The Spectre of Impossibility is a well written, clear, insightful and always to-the-point examination of the ways in which Japanese cinema has (and has not) dealt with the atomic bombs ... I congratulate Deamer for both the depth and the breadth with which he approaches this challenging topic ... Deamer writes fluidly, organises his thoughts clearly and displays a profound familiarity with the films that he has chosen as his examples. As a result, the book is a thoroughly pleasant, if demanding, reading experience. Informationen zum Autor Dr David Deamer is Associate lecturer in film at Manchester Metropolitan University, UK. He has published in Martin-Jones and Brown's Deleuze and Film; Bell and Colebrook's Deleuze and History; Deleuze Studies; and A/V, of which he was co-founder. He blogs on Deleuze and cinema at www.cineosis.com. Klappentext David Deamer establishes the first ever sustained encounter between Gilles Deleuze's Cinema books and post-war Japanese cinema! exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation political censorship to the social and cultural freedoms of the 1960s and beyond! the book examines how images of the nuclear event appear in post-war Japanese cinema. Each chapter begins by focusing upon one or more of three key Deleuzian themes - image! history and thought - before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira! Shindo Kaneto! Oshima Nagisa and Imamura Shohei; popular and cult classics - Godzilla (1954)! Akira (1988) and Tetsuo (1989); contemporary genre flicks - Ring (1998)! Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. The author provides a series of tables to clarify the conceptual components deployed within the text! establishing a unique addition to Deleuze and cinema studies. Vorwort Examines, via the philosophy of Deleuze, the ways in which Japanese cinema has explored and been transformed by the atomic bombings of Hiroshima and Nagasaki. Zusammenfassung David Deamer establishes the first ever sustained encounter between Gilles Deleuze's Cinema books and post-war Japanese cinema, exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation political censorship to the social and cultural freedoms of the 1960s and beyond, the book examines how images of the nuclear event appear in post-war Japanese cinema. Each chapter begins by focusing upon one or more of three key Deleuzian themes – image, history and thought – before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira, Shindo Kaneto, Oshima Nagisa and Imamura Shohei; popular and cult classics – Godzilla (1954), Akira (1988) and Tetsuo (1989); contemporary genre flicks – Ring (1998), Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. The author provides a series of tables to clarify the conceptual components deployed within the text, establishing a unique addition to Deleuze and cinema studies. Inhaltsverzeichnis List of tablesList of imagesAcknowledgementsIntroduction: event, cinema, cineosis1. Special images, contingent centresMovement-images: Bergson, sensory-motor processThe Effects of the Atomic Bomb on Hiroshima and Nagasaki (Ito Sueo, 1946)Children of the Atom Bomb (Shindo Kaneto, 1952)Godzilla (Honda Ishiro, 1954) 2. H...
