Acknowl edgments
A journey is made by one’s traveling companions, as the Japa nese expres-
sion goes. On the journey that resulted in this volume, we had the benefit of
an incredible group of contributors. We thank each and every one of them
for taking the time to put their ideas into conversation, and to forge this
collective proj ect. We are grateful to them for the journey as well as for the
final product. Ken Wissoker and Elizabeth Ault at Duke University Press
were im mensely supportive of this proj ect from the very beginning, and
their continuous advice— and patience— were invaluable in navigating it
through its multiple stages. The Reischauer Institute of Japa nese Studies was
vital in supporting a workshop that allowed the contributors to meet and
spend an intense and very rich two days exchanging ideas on all aspects of
this enterprise. The current form of this volume started to take shape at the
Histories of Film Theories in Asia conference at the University of Michigan
in 2012, or ga nized by Markus Nornes, where we benefited from early and
im mensely sensible advice from Tomiko Yoda. Karen Beckman, Yuriko Fu-
ruhata, Joshua Neves, Masha Salazkina, and Haidee Wasson offered guidance
and solidarity in the art of creating an edited collection. We extend our deep
thanks to our talented research assistants, Peter Bernard, Alain Chouinard,
Andrew Campana, Kimberlee Sanders, and Edmund Stenson. We thank
every one in our contexts near and far who offered advice and support dur-
ing this proj ect.
Fi nally, there is one contributor who is especially in our thoughts. Ryoko
Misono enthusiastically agreed to contribute a central chapter to the volume
at a late stage in its development, greatly enhancing the proj ect as a whole.
She tragically passed away just days after sending in her essay. With Misono-
san the fields of film and media studies in Japan lost one of its most promising
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