The two ﬁlms that remain “lost” as of this writing are Until Victory Day (Shori
no hi made, 1945) and Delinquent Girl (Furyo shojo, 1949); the title rumored to be
incomplete is Shanghai Moon (Shanhai no tsuki, 1941), which may be at the Na-
tional Film Centre in Tokyo, although it was not made accessible to me to view.
Even Parting Is Enjoyable (Wakare mo tanoshi, 1947) is part of Four Love Stories
(Yottsu no koi no monogatari); and The Kiss (Kuchizuke, 1955) is part of Women’s
Ways (Onna doshi). Some of the discrepancies in the available ﬁlmographies may
be due to the inclusion or exclusion of these two short ﬁlms, which I am includ-
ing in the eighty-nine-ﬁlm total.
Hansen, “Fallen Women, Rising Stars” and “The Mass Production of the
Singer, Melodrama and Modernity.
Hansen, “Fallen Women, Rising Stars,” 13.
Benjamin, “On the Concept of History” (1940), in Walter Benjamin: Selected
Writings, Vol. 4, 391.
See Miyoshi and Harootunian, Postmodernism and Japan, for a more extensive
discussion of Japanese modernity and postmodernity.
Harootunian, History’s Disquiet, 111.
Yoshimoto, “The Diﬃculty of Being Radical.”