{"title":"Reminiscences of a journey to Okinawa: landscape film as essay, and Takamine Gō’s Okinawan Dream Show (1974)","authors":"R. Ma","doi":"10.1080/17564905.2021.1914887","DOIUrl":null,"url":null,"abstract":"ABSTRACT This study places itself at the intersection between essay film, landscape film (fūkei eiga), and Okinawa. It aims to understand how such an intersection contributes to rethinking independent (documentary) filmmaking in Japan (and Okinawa) during the late 1960s and early 1970s. I highlight Okinawa-born, Kyoto-based filmmaker Takamine Gō, particularly his first nonfiction feature, Okinawan Dream Show (1974). Whereas ‘landscape film’ is used to frame and describe a spectrum of discursive articulations and the concomitant filmmaking practices centreing around ‘fūkei’ (landscape), I unpack landscape film with insights borrowed from the discussions of essayistic cinema. I shall argue that Okinawan Dream Show leverages interstitial strategies to configure a temporal and affective assemblage to envision an Okinawan landscape that is both lost and yet to come.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"4 - 21"},"PeriodicalIF":0.0000,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2021.1914887","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Japanese and Korean Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17564905.2021.1914887","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACT This study places itself at the intersection between essay film, landscape film (fūkei eiga), and Okinawa. It aims to understand how such an intersection contributes to rethinking independent (documentary) filmmaking in Japan (and Okinawa) during the late 1960s and early 1970s. I highlight Okinawa-born, Kyoto-based filmmaker Takamine Gō, particularly his first nonfiction feature, Okinawan Dream Show (1974). Whereas ‘landscape film’ is used to frame and describe a spectrum of discursive articulations and the concomitant filmmaking practices centreing around ‘fūkei’ (landscape), I unpack landscape film with insights borrowed from the discussions of essayistic cinema. I shall argue that Okinawan Dream Show leverages interstitial strategies to configure a temporal and affective assemblage to envision an Okinawan landscape that is both lost and yet to come.
期刊介绍：
Journal of Japanese and Korean Cinema is a fully refereed forum for the dissemination of scholarly work devoted to the cinemas of Japan and Korea and the interactions and relations between them. The increasingly transnational status of Japanese and Korean cinema underlines the need to deepen our understanding of this ever more globalized film-making region. Journal of Japanese and Korean Cinema is a peer-reviewed journal. The peer review process is double blind. Detailed Instructions for Authors can be found here.
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