Acknowled gments
Writing this book has been a collaboration with a great number of
people over a long period. Such a project would not have been possible
without the support and encouragement, language, and research skills
of dozens of friends, colleagues, and students. A few individuals have
been particularly important collaborators. Chika Kinoshita did a huge
amount of research in Japanese archives, providing an excellent anno-
tated bibliography and translation of many of the reviews of Naruse’s
cinema published in Japanese. This research became a vital part of my
study. Guy Yasko translated over a dozen film transcripts and countless
articles, and provided me with an extremely high level of expertise in
Japanese language and culture at a critical point in the project. Kiyoaki
Ohkubo was instrumental in providing Japanese language sources and
enabled me to make this study far more comprehensive than I had ever
dreamed. Adam Rosadiuk worked with me very closely in developing
the frame grabs to illustrate the book, combining technical skills with
an appreciation for Naruse’s visual style. All four of these individuals
contributed insights into this cinema that inevitably made their way into
the book on all kinds of different levels.
Among the many students and assistants who helped me with transla-
tion, I would like to especially thank Yuko Yamade for her dedication to
the project. Other translators include Adrienne Gibb, Kumi Hishikawa,
D. R. Lindberg, David Lewis, Akiko Mizoguchi, Rumi Motohashi, Zen
Nakamura, Ayano Nishikai, Tomoko Okabe, Daichi Saito, Akira Taka-
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