Images, Commodities, Embodied Women: Film Stars in the Spectacle of - PowerPoint PPT Presentation

Images, Commodities, Embodied Women: Film Stars in the Spectacle of Japanese Modernity, 1926–1936

Kuroda Seiki , Woman with a Mandolin , 1890–1891. � The women of y ō ga are placed in a field of vision that floods their bodies with light and displays them with a precision and acuity only only possible in the modern age. Perspective, colour and focus give them an enhanced visibility, a quality of spectacle that allows the state of modernity now to manifest itself before the gaze of modernity’s actual makers. It is not with their own radiance that the images shine. But for that very reason they are able to represent the ‘enlightenment’ that the masters of modernity cast upon them, in its purest form. Norman Bryson, ‘Westernizing Bodies: Women, Art and Power in Meiji Y ō ga ’ in Gender and Power in the Japanese Visual Field, ed. Joshua Mostow et al., Honolulu: University of Hawai’i Press, 2003, p. 118 . Kuroda Seiki, Morning Toilette , 1893 . �

About the Modern Girl ‘ … highly commodified cultural construct crafted by male jouralists.’ ‘ a phantom projected onto the social landscape by male critics anxious about socio-cultural change.’ (Silverberg 2006; 2008) ‘mainly media sensation and partially lived reality.’ ( Lowy 2007) ‘a screen on to which all sorts of fantasies and ideas about sexuality could be projected.’ (Wada 2011 )

Japan’s first mannequin girl: Hanako at the national exhibition of industry commemorating the enthronement of the Showa emperor in 1928. (from Kon Wajir ō , A New Guide to Greater Tokyo (Shinpan dai Tokyo annai,1929))

The Asakusa Denkikan The Central Space of Matsuya’s Ginza store Entrance of the Mitsuloshi main store on (1925) Nihonbashi

‘ The Modern Cleopatra’ (2), Sh ū kan Asahi Graph 12 Aug 1928 ‘The Modern Cleopatra’ (3), Sh ū kan Asahi , 19 Aug 1928

Irie Takako as Ayame in The Modern Cleopatra (Kindai no Kureopatora) , dir. Hatamoto Sh ū ichi/ Abe Yutaka, Nikkatsu 1928.

(C) The Asahi Shim r ission. bun Com p any. All r ight s r eser ved . No r ep od yr uct ion or r ep ublicat ion wit hout wr it t en p ight Cop m 本サービスとその収録内容にかかる著作権その他一切の権利は、朝日新聞社または各権利者に帰属します。無断転載など権利侵害となるご利用はお断りします。 (C)朝日新聞社 聞蔵Ⅱビジュアル ★（欧州コンソ：０設定用）Kikuzo EU consortium 1928年9月9日 東京 朝刊 5Ｐ ★（欧州コンソ：０設定用）Kik uzo EU consor t ium 2 0 1 6 / 0 9 / 0 9 2 2 :1 2 (C)朝日新聞社 聞蔵Ⅱビジュアル er Irie Takako promotional still Irie Takako still from ‘Kindai Cleopatra’ eiga Clara Bow on the cover of Kinema junp ō , 11 February 1927 for Kindai Cleopatra , Asahi monogatari , Bungei jidai, January 1929 shimbun, 1 Sep 1929

Irie Takako (left) and Natsukawa Shizue (right) in Tokyo March (Tokyo k ō shinkyoku, 1929, dir. Mizoguchi Kenji)

Irie Takako and Natsukawa Shizue in Tokyo March (Tokyo k ō shinkyoku, 1929, dir. Mizoguchi Kenji) ( left and middle) and in Torrent (Gekiry ū , dir. Murata Minoru, 1928) (right)

Japan’s first mannequin girl: Hanako at the Shõwa Irie Takako painted by Nakamura Daizabur ō ( Fujo , silk industrial exhibition in 1928 screen, 1930)

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Irie Takako as Ayame in The Modern Cleopatra : plot summary ( eiga monogatari ) in Bungei jidai, January 1929

Tanaka Seiko (in the middle): Mitsukoshi magazine, February 1929 Tanaka Seiko (middle): Mitsukoshi magazine, January 1929

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Hara Sen (1905-1989): actress, married to Communist poet Nakano Shigeharu