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

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

Dec 12, 2022 250 likes •423 views

Images, Commodities, Embodied Women: Film Stars in the Spectacle of Japanese Modernity, 19261936 Kuroda Seiki , Woman with a Mandolin , 18901891. The women of y ga are placed in a field of vision that floods their bodies with light

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

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The women of yōga 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 Yōga ’ 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. Kuroda Seiki, Woman with a Mandolin, 1890–1891.

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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 )

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

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

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‘The Modern Cleopatra’ (2), Shūkan Asahi Graph 12 Aug 1928

‘The Modern Cleopatra’ (3), Shūkan Asahi, 19 Aug 1928

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

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Irie Takako still from ‘Kindai Cleopatra’ eiga monogatari, Bungei jidai, January 1929 Clara Bow on the cover of Kinema junpō, 11 February 1927

(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 1 6 / 9 / 9 2 2 :1 2 (C)朝日新聞社 聞蔵Ⅱビジュアル 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。 Cop yr ight (C) The Asahi Shim bun Com p

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Irie Takako promotional still for Kindai Cleopatra, Asahi shimbun, 1 Sep 1929

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

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Irie Takako and Natsukawa Shizue in Tokyo March (Tokyo kōshinkyoku, 1929, dir. Mizoguchi Kenji) (left and middle) and in Torrent (Gekiryū, dir. Murata Minoru, 1928) (right)

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

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Irie Takako in swimming costume

Mannequin girls modelling swimming costumes, Yomiuri shimbun, 7 July 1931 IMae West, Venus of Milo, Irie Takako: measurements (Fujin Kōron 1928)

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

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

Tanaka Seiko (middle): Mitsukoshi magazine, January 1929

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(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 1931年7月8日 東京 朝刊 7Ｐ

★（欧州コンソ：０設定用）Kik uzo EU consor t ium 2 1 5 / 7 / 1 1 2 1 :0 3 (C)朝日新聞社 聞蔵Ⅱビジュアル 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。 Cop yr ight (C) The Asahi Shim bun Com p

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(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 1931年（昭和6年） 3月 4日 通常号 382号 26～27ページ

★（欧州コンソ：０設定用）Kik uzo EU consor t ium 2 1 5 / 7 / 1 1 2 :4 4 (C)朝日新聞社 聞蔵Ⅱビジュアル 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。 Cop yr ight (C) The Asahi Shim b un Com p

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Komai Reiko (real name Asanuma Kiyoko)

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