By Richard Koszarski
The silent cinema was once America's first sleek leisure undefined, a posh social, cultural, and technological phenomenon that swept the rustic within the early years of the 20th century. Richard Koszarski examines the underlying constructions that made the silent-movie period paintings, from the operations of jap bankers to the issues of local theater musicians. He deals a brand new standpoint at the improvement of this significant new and artwork shape and the public's reaction to it.
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Extra info for An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928 (History of the American Cinema, Volume 3)
Through Miyazaki as well as his Japanese audience, the ﬁlms Nausicaä of the Valley of the Wind (1984), My Neighbor Totoro (1988), Princess Mononoke (1997), Spirited Away (2001), and Ponyo on the Cliff by the Sea (2008) became deeply embedded in the discourse. 33 34 Miyazaki’s Animism Abroad I Hayao Miyazaki and Animism Discourse Aside from Nausicaä of the Valley of the Wind, all the ﬁlms that this book deals with are set in Japan. However, when reviewing the ﬁlms and television series that Miyazaki created or engaged with for the last forty years, it becomes apparent that the majority of his earlier works have European settings and that his interest in ﬁlming Japanese stories emerged only in the middle of his career.
Many case studies further advocate her argument, for example Tarek Shamma’s discussion of Richard Burton’s English translation of the Arabian Nights, in which she reveals that a foreignization approach of the translation does not challenge ethnocentric ideas but simply conﬁrms the stereotypes of Orientalist images. From a different angle than Tymoczko’s, Mary SnellHornby challenges Venuti’s elevation of foreignization, namely by revealing its limitation to ﬁght ethnocentrism. While acknowledging Venuti’s problematization of “the hegemonic role of English, the position of translators and the conditions of their work,” she claims that foreignization is not a sufficient solution to these problems (147).
In N. Inoue, 40). The term “museum of religions” is also used to reﬂect on the situation of religions in Japan and simultaneously suggests the inclusive nature of Japanese animism. As an example of Japan as a museum of religions, Sachiya Hiro brings up shichi fukujin, or “the seven gods of fortune,” who originated during the Muromachi period (1336–1573). He argues that the seven gods, who are well known among the Japanese, originated from Shinto, Buddhism, Hinduism, 20 Introduction and Taoism (102–103).