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Japanese Schoolgirl Inferno
Japanese schoolgirl fashions and subcultures have sprung up, burned out, mutated, and evolved into a pop culture phenomenon gone global—from Gwen Stefani's "Harajuku Girls" to Gothic Lolita-fueled manga and the deadly schoolgirl in Kill Bill, it's no wonder that international fashion designers look to the streets of Tokyo for fresh inspiration. This playful and thoroughly researched handbook examines the key styles and subcultures past and present: sailor-suited gangsters, Pippi Longstockings risen from the dead, girls in blackface, teens sporting giant hamster costumes, and more. Each fashion profile is packed with photos and illustrations, history, ideal boyfriends, and must-have items. Also included are a gatefold evolutionary fashion chart, resources, and makeup tips. At last, an in-depth guide to what the girls are wearing—and why on earth they're wearing it.
Tokyoscope
Didja know that Samuel L. Jackson's Biblical speech in Pulp Fiction was borrowed from the brain-damaged Sonny Chiba karate flick The Bodyguard? Or that the design for the Smog Monster in Godzilla vs. the Smog Monster was based on a bathroom sketch of female anatomy? TokyoScope: The Japanese Cult Film Companion is the first book of its kind: an elegantly designed, engagingly written introduction to the world of Japanese pop films covering Godzilla, karate, gangster, horror, Japan's infamous "pink" movies, and much more.
The Kurosagi Corpse Delivery Service
-Original cover design, Bunpei Yorifuji.-
Nightmare Japan
Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (Tetsuo: The Iron Man [1988] and Tetsuo II: Body Hammer [1992]), Sato Hisayasu (Muscle [1988] and Naked Blood [1995]) Kurosawa Kiyoshi (Cure [1997], Séance [2000], and Kaïro [2001]), Nakata Hideo (Ringu [1998], Ringu II [1999], and Dark Water [2002]), and Miike Takashi (Audition [1999] and Ichi the Killer [2001]) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors ...
The Genius of Bob's Burgers
Given the limitless freedom of animation, why would anyone use it to make a sitcom about a struggling family-owned burger place? And why would audiences embrace this greasy fantasy, not just by tuning in but by permanently decorating their legs and arms with images from the show and writing detailed backstories for its minor characters? This book-length critical study of Bob's Burgers examines the moments in which the animated sitcom exposes the chasms between generations, explores gender and sexual identity, and allows fans to imagine a better world. Essays cover how the show can be read as a series of critiques of Steven Spielberg's early blockbusters, a rejection of Freudian psychology, or an examination of the artificiality of gendered behaviors through the cross-casting of characters like Tina and Linda. By tracing the ways that the popular reception of Bob's Burgers reflects changing cultural attitudes, the essays provoke broader questions about the responsibility of popular entertainment to help audiences conceive of fantasies closer to home: fantasies of loving and accepting parents, of creative, self-assured children, and of menus filled with artisanal puns.
Globalization, Consumption And Popular Culture In East Asia
This book aims to provide comprehensive empirical and theoretical studies of expanding fandom communities in East Asia through the commodification of Japanese, Korean and Chinese popular cultures in the digital era. Using a multidisciplinary approach including political economy, East Asian studies, political science, international relations concepts and history, this book focuses on a few research objectives. In terms of methodology, it is an area studies approach based on interpretative work, observation studies, policy and textual analysis. First, it aims to examine the closely intertwined relationship between the three major stakeholders in the iron triangle of production companies, consu...
The Kurosagi Corpse Delivery Service Volume 4
A small country town's got more than the usual crop circles to claim aliens drop by . . . they've got the extraterrestrial's body! It's going to be a different kind of alien autopsy when the Kurosagi crew investigates their oddest client yet. And there's more strange visitors from afar when an American entomologist drops in-blond, buxom, and an expert on maggots-not to mention a crossover appearance by Reiji Akiba, the gun-toting exorcist of Mail!
The Cinema of Tsui Hark
Tsui Hark, one of China's most famous film artists, is little known outside of Asia even though he has directed, produced, written, or acted in dozens of film, some of which are considered to be classics of modern Asian cinema. This work begins with a biography of the man and a look at his place in Hong Kong and world cinema, his influences, and his thematic obsessions. Each major film of his career is then reviewed, production details are provided, and comments from Tsui Hark himself are given.
Fans, Bloggers, and Gamers
Brings together the highlights of a decade and a half of groundbreaking research into the cultural life of media consumers Henry Jenkins's pioneering work in the early 1990s promoted the idea that fans are among the most active, creative, critically engaged, and socially connected consumers of popular culture and that they represent the vanguard of a new relationship with mass media. Though marginal and largely invisible to the general public at the time, today, media producers and advertisers, not to mention researchers and fans, take for granted the idea that the success of a media franchise depends on fan investments and participation. Bringing together the highlights of a decade and a ha...
John Woo
This is the first authoritative English-language collection of interviews with the respected filmmaker who reinvented the modern action movie and helped open the door for fellow Asian filmmakers to the Western world.
