noriKo aso
is an assistant professor of history at the University of California,
Santa Cruz. She has published essays on cultural history and is completing a study
of late nineteenth- and early twentieth-century Japanese cultural institutions as
they negotiated new forms of publicness.
MiChael BasKett
is an associate professor of film studies in the department of
Theatre and Film at the University of Kansas, where he teaches courses in East
Asian cinema and film history. He is the author of The Attractive Empire: Transnational
Film Culture in Imperial Japan (2008).
KiM BranDt
is an associate professor of history at Columbia University. She is the
author of Kingdom of Beauty: Mingei and the Politics of Folk Art in Imperial Japan (Duke,
nina Cornyetz
is an associate professor of interdisciplinary studies at the Gal-
latin School, New York University. She is the author of The Ethics of Aesthetics in Japa-
nese Cinema and Literature: Polygraphic Desire (2007).
Kevin M. DoaK
holds the Nippon Foundation Endowed Chair in Japanese Culture
at Georgetown University, where he also chairs the Department of East Asian Lan-
guages and Cultures. He is author or editor of several books and has written over
thirty articles on nationalism, ethnicity, and political thought in modern Japan.
His most recent book is A History of Nationalism in Modern Japan: Placing the People
JaMes Dorsey
is an associate professor of Japanese literature and cultural history
at Dartmouth College. In addition to publishing essays on and translations from
the writer Sakaguchi Ango, he has recently completed a study of the critic Koba-
yashi Hideo.
aaron Gerow
is an assistant professor of Japanese cinema and culture in the
departments of East Asian Languages and Literatures and Film Studies at Yale Uni-
versity. His publications include Kitano Takeshi (BFI, 2007) and forthcoming books
on A Page of Madness (dir. Kinugusa Teinosuke, 1926), and Taishō film culture.
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