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Japanese Counterculture: The Antiestablishment Art of Terayama Shūji (review)

Japanese Counterculture: The Antiestablishment Art of Terayama Shūji (review) globalism in the arts, after scholar Reiko Tomii. Standish's scholarship looks primarily at avant-garde cinema from the 1950s through the 1970s. Her method is aligned to that of Pierre Bourdieu and the theoretical approach of situating film and filmmakers in "an historical analysis of the objective social relations and cultural practices out of which they emerged,"4 including the aesthetics of taste, high and low culture, and the generation of symbolic and cultural capital. Many of the filmmakers in Standish's study (such as ¯ Oshima Nagisa, Imamura Shohei, and Hani Susumu) positioned themselves ¯ in an oppositional, provocative relationship with conventional film styles, yet they were deeply enmeshed in the financial and commercial aspects of the film industry. The politics of the old left, new left, and the right, as well as labor union struggles, are central concerns to the avant-garde film studios and production she studies, providing an interesting contrast with the experimental artists who work at a distance from such conditions. I would be interested in Sas's views on Gennifer Weisenfeld's exploration of the links between (and lack thereof) the pre- and post-1945 avant-garde art in Mavo: Japanese Artists and the Avant-Garde, 1905­1931 (University of California Press, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Japanese Studies Society for Japanese Studies

Japanese Counterculture: The Antiestablishment Art of Terayama Shūji (review)

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Publisher
Society for Japanese Studies
Copyright
Copyright © Society for Japanese Studies.
ISSN
1549-4721
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Abstract

globalism in the arts, after scholar Reiko Tomii. Standish's scholarship looks primarily at avant-garde cinema from the 1950s through the 1970s. Her method is aligned to that of Pierre Bourdieu and the theoretical approach of situating film and filmmakers in "an historical analysis of the objective social relations and cultural practices out of which they emerged,"4 including the aesthetics of taste, high and low culture, and the generation of symbolic and cultural capital. Many of the filmmakers in Standish's study (such as ¯ Oshima Nagisa, Imamura Shohei, and Hani Susumu) positioned themselves ¯ in an oppositional, provocative relationship with conventional film styles, yet they were deeply enmeshed in the financial and commercial aspects of the film industry. The politics of the old left, new left, and the right, as well as labor union struggles, are central concerns to the avant-garde film studios and production she studies, providing an interesting contrast with the experimental artists who work at a distance from such conditions. I would be interested in Sas's views on Gennifer Weisenfeld's exploration of the links between (and lack thereof) the pre- and post-1945 avant-garde art in Mavo: Japanese Artists and the Avant-Garde, 1905­1931 (University of California Press,

Journal

The Journal of Japanese Studies – Society for Japanese Studies

Published: Jan 31, 2013

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