Contents of Back Issues of Eizogaku
《ICONICS Japanese Edition》Nos.86-94
No.86, 2011
Articles
MASUDA Nobuhiro／A l’interstice de la photochronographie―Essai sur la pratique de Albelt Londe
HORIE Hidefumi／How TERAYAMA Shuji Treated Television: An Analysis of the TC Drama, Ippiki (1963) Discovered in the NHK Archives
Review
HASEGAWA Hajime／NAKAMURA Hideyuki, Angels of the Rubble: From Benjamin to Cinema’s Unfulfilled Dream
IWAMOTO Kenji／Abé Mark Nornes and Aaron Gerow, Research Guide to Japanese Film Studies
No.87, 2011
Articles
HASHITANI Hana／Revival of Gento in Showa Japan: Focusing on the Development in Post-war Social Movements
KONO Marie／UEHARA Ken and the Woman’s Film: the Construction of Female Spectatorship in Shochiku-Ofuna Studio of the late 1930s
TANAKA Shinpei／A Study of Specter in Theo Angelopoulos’ Megalexandros
Report
TSURUTA Takeshi／Study of “Amagigoe” (1983)
Review
NAKAYAMA Akihiko／Cinema and Technological Experience
KAWASAKI Kohei／Japanese Cinema in the Digital Age
HIDAKA Yu／Photographic Postcards of British Coal Mining in the Early 20th Century
ITAKURA Fumiaki／A Page of Madness: Cinema and Modernity in 1920s Japan
No.88, 2012
Articles
KOBAYASHI Kazuhiko／The Image Work Technique in Which Physical Operation Technology Was Applied: Consideration Based on Production of ‘Delusional Sculpture’
IWAKI Akihisa／Body as Image Processor: Divina Commedia (1991)
SUZUKI Hirofumi／Any-space-whatever and Tactility: About the Affection-image in Gelles Deleuze’s Cinema
Report
MATSUMOTO Toshio／What is the Expression Peculiar to an Image Art? ― About “The Song of Stone” (TBS, 1963)
TSURUTA Takeshi／A Study of Amagigoe vol.2
Review
KADOBAYASHI Takeshi／KITANO Keisuke, Introduction to Theories of Visual Image
KIHARA Keisho／TSUKADA Yukihiro, Cinema and Gender: Sexual Politics and War in American Film
YING Xiong／LIU Wenbing, Testimony: Exchange between Japanese and Chinese Cineastes
TAKINAMI Yuki／SUGINO Kentaro, Cinema and Nation
OKADA Hidenori／UCHIYAMA Mikiko et TAKEDA Kiyoshi (dir.), « Marionnettes japonaises: Ningyô-jôruri » : Itinéraire d’un film
No.89, 2012
Articles
KIHARA Keisho／The Legitimization of the Movies: Stanley Cavell on the Classical Hollywood Cinema
KINOSHITA Chika／Before the Revolution: Mizoguchi Kenji’s Tôjin Okichi (1930)
Report
TAKAHASHI Hideki／How Did Japanese Audience Accept Autism Illustrated in a Drama?
Review
TOEDA Hirokazu／MORIYASU Toshihisa, Cross-Media Lectures on Art
No.90, 2013
Articles
WASHITANI Hana／Gentou as “Life Document Art”: Focusing on the Gentou Activity in the Tokyo University Kawasaki Settlement
SUDOH Kentaro／Récit sans découpage: l’œuvre télévisuelle de Jean Eustache
SUGAWARA Yoshino／Toward the Opposite Side of Vulgarity: The Birth of Cinema as a “Healthful Entertainment” and the Shanghai Y.M.C.A.
KONO Marie／Ryoju (Hunting Rifle): A Paradigmatic Work of Bungei Melodrama
Report
TAKAHASHI Hideki／How Did Japanese Audience Accept Autism Illustrated in a Drama?Review
ISHIZAKA Kenji／AN Ni, A History of Film Collaborations between Japan and China During World War Two: Conflict and Negotiation
No.91, 2013
Articles
SUMII Makoto／Renoir Touch: Sur La mise en scéne des acteurs dans Swamp Water
FUJITA Junichi／Photographing Monkeyshines by Edison’s Cylinder Kinetograph
TANAKA Shinpei／Orphans’ Communities in Shinji Somai’s Films
Review
OYAMA Katsumi／HASE Masato, The Imagination of Losers: Taichi Yamada, Scriptwriter
HATAKEYAMA Muneaki／Akira Mizuta Lippit, Atomic Light (Shadow Optics)
SUMII Makoto／Raymond Bellour, Le corps du cinéma: hypnoses, émotions, animalités
BABA Nobuhiko／OGAWA Naoto, GOTO Makoto, ed., The Photographic Experiences in Japanese Socio-Cultural History
No.92, 2014
Articles
TAMADA Kenta／The Relation of Motion and Economy in D. W. Griffith’s A Corner in Wheat (1909)
KOBAYASHI Kazuhiko／An Image Expression Method That Utilizes Composition of Image Materials Created by Superimposing Image Cutouts: Consideration Based on Production of PolyPhonic, Ren-Ka-Lin-Ten, and Syu-No-Kou
Report
KIHARA Keisho／Investigating Television Programs by Film Directors: A Case Study of Azuma Morisaki
Review
IZUNO Chita／Dudley Andrew, Hervé Joubert-Laurencin eds., Opening Bazin: Postwar Film Theory and Its Afterlife
MASUDA Nobuhiro／Tomas Lamarre, The Anime Machine: A Media Theory of Animation
No.93, 2014
Articles
ENOMOTO Chikako／Early Japanese Stage Photographs: The Imanari Family Photography Collection and “Kabuki Culture”
OGAWARA Aya／Mechanics and Morality: Hitchcock’s Rope in reference to Rohmer and Chabrol
YAMAMOTO Yuuki／Radio Sounds in Thieves Like Us (1974): Sounds That Narrate a Potential Story
Review
KAWAMURA Ken’ichiro／MATSUMOTO Toshio, KANEKO Yu (ed.), Deviation of Image-Art: Expansion / Transfiguration / Experimental Mind
ITAKURA Fumiaki／UEDA Manabu, An Analysis of Early Film Spectators based on the Forms of Film Exhibition: Focusing on the Cases in Tokyo and Kyoto
WASHITANI Hana／MIWA Kentaro, Comics and Cinema: The Theory of Frame and Time
USUI Michiko／SUGINO Kentaro, Cinema and the Other Media: Animation, Cinema, and Literature
WATANABE Daisuke／Lev Manovich, The Language of New Media
MISONO Ryoko／John Mercer, Martin Shingler, Melodrama: Genre, Style, Sensibility
TAKEDA Kiyoshi／D. N. Rodowick, Elegy for Theory
No.94, 2015
Articles
KAWSAKI Keiya／The Eyes of Specters: The Problem of Viewpoint in Orson Welles’s The Magnificent Ambersons
Review
HATANO Tetsuro／TOMODA Yoshiyuki, Postwar Avant-garde Pictures and Literature: Abe Kobo × Teshigahara Hiroshi
YOKOHAMA Yuji／SHIMURA Miyoko, Kikuchi Kan: A Man of the Cinema
WADA Shin’ichiro／SHIBATA Takashi, McLuhan and his Media Theory: The Aggregation of Ideas on the Body
CHO Shinmin／YANLI HAN, Beyond National Cinema: Overseas Chinese Cinema and National Identity
KINOSHITA Chika／KITAMURA Hiroshi, Screening Enlightenment: Hollywood and the Cultural Reconstruction of Defeated Japan
SUDO Kentaro／MIURA Tetsuya,What Is Cinema?: A History of the Cinematic Thought in France
YING Xiong／HORI Junji, SUGAWRA Yoshino,A History of Transnational Cinema
Ciné-Anthropology: Toward a New Practice of Anthropology
HASE Masato／Miriam Bratu Hansen, Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno
