index
Abe Kobo, 377
Abe Tsuyako, 294
Abortion, 12, 230, 248–49, 266, 281,
358, 390
Academy aspect ratio, 226, 309
Acting techniques, 14, 249, 268; re-
straint and, 230–31
Actress and the Poet, The ( Joyu to shijin,
1935), 96–99
Adorno, Theodor, 308
Ahmad, Aijaz, 171–72
Ainu people, 317, 328–33, 397
Akagi Ranko, 117
Akogare, 395–96
Allison, Anne, 340
American cinema, 9–10, 23, 78, 85–87,
174, 256; American family melo-
drama and, 258–60; American re-
lease and critique of Wife! Be Like a
Rose!, 83, 100; Japanese cinema vs.,
128–30; vernacular modernity and, 25
Anderson, Joseph, 28, 46, 86, 130
Angry Street, The (Ikari no machi, 1950),
169, 177, 198–203, 377; still from, 202
Anpo Treaty (1960), 318
Anthropology, 18, 32, 236, 243; ethnog-
raphies and, 207, 300, 401–2; hostess
bars and, 340; Late Chrysanthemums
and, 274; sentimental ethnographies
in, 177, 195; spectatorship and, 35, 37;
woman’s film and, 30
Anzukko (1958), 226, 229, 236, 304,
309–12, 376
Aoki Yayoi, 31
Aomori prefecture, 195, 198, 389–90
Aono Suekichi, 53, 186
Apart from You (Kimi to wakarete,
1933), 8, 45, 48, 60–65; still from, 64
Approach of Autumn, The (Aki tachinu,
1960), 320, 348, 351, 353, 369; still
from, 352
Arakure (Tokuda Shusei), 304–8
Arcades Project, The (Benjamin), 181,
308
Architecture and homes, 15, 22, 24, 30,
109, 127, 233, 298, 401; in Both You
and I, 184; family and, 30; female
subjectivity and, 33; in Feminine
Melancholy, 118, 120; in Flowing, 295,
298; in home-drama, 33; intern-
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