
Contents
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Giving an Account of Oneself Giving an Account of Oneself
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The Self in Japan and the ‘Japanese Self’ The Self in Japan and the ‘Japanese Self’
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Cinema and the Self in Japan Cinema and the Self in Japan
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Cinema Arrives in Kansai Cinema Arrives in Kansai
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Representing the Japanese Self Onscreen Representing the Japanese Self Onscreen
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Audiences, Viewers and Conceptions of Selfhood Audiences, Viewers and Conceptions of Selfhood
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(Re)forming the Self through Cinema (Re)forming the Self through Cinema
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Cinemagoing in Japan: 1945–1968 Cinemagoing in Japan: 1945–1968
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1 What Do We Talk About when We Talk About Cinema?
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Published:October 2022
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Abstract
The first chapter develops a theoretical approach in response to the motivating concern that while ethnographic cinema projects have considered the question of memory (Stacey 1994), and cinema memories as “ethno-history” (Kuhn 2002), the act of discussing film-related memories itself has not been fully interrogated. This book’s innovation is its focus on what we talk about when we talk about cinema. In this chapter, I propose an understanding of film-related memory as a mode of “giving an account of oneself” (Butler 2005). Chapter 1 argues that talking about film offers people a way to negotiate their individual subjectivity and experiences as viewers, within the normative social frameworks modelled by classical cinema narratives. At the same time, performing a passionate relationship with a film text, creator, or moment in cinema history allows the speaker a mode of distinguishing themselves as an individual subject. This chapter lays the ground for understanding the narratives that follow as at once performances of compliance with social norms, and at the same time as claims for recognition of an individual self with particular tastes, preferences, and memories.
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