By Albert G. MacKey 33*, William J. Hughan 32*, Edward L. Hawkins 30*
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Thompson, Kristin and Bordwell, David (1994) Film History. An Introduction, New York: McGraw-Hill. Wada-Marciano, Mitsuyo (1998) ‘The Production of Modernity in Japanese National Cinema: Shochiku Kamata Style in the 1920s and 1930s’, Asian Cinema, 9 (2): 69–93. —— (2005) ‘Imaging Modern Girls in the Japanese Woman’s Film’, Camera Obscura, 60: 15–55. ) (2001) Word and Image in Japanese Cinema, Cambridge: Cambridge University Press. Yoshimoto, Mitsuhiro (2000) Kurosawa: Film Studies and Japanese Cinema, Durham, NC: Duke University Press.
Ozu’s ﬁlm remains an outstanding example of the director’s inﬂection of the ‘Kamata style’ which had evolved under the managerial guidance of the Kamata studio boss, Kido Shiro¯, in order to depict the experiences and concerns of Japan’s ordinary urban citizens as the nation underwent the convulsions and changes of modern life in the late Taisho¯ (1912–1926) and early Sho¯wa (1926–1989) eras. I Was Born, But . . is an understated, but revealing, investigation of masculine identity, failure and what David Bordwell has usefully termed ‘the social use of power’ (Bordwell 1988: 224).
Similarly, the ﬁlm industry in Japan, as well as distribution companies overseas, often position their theatrical and DVD releases of Japanese ﬁlms in terms of who the director is and what s/he has produced to date. 15 INTRODUCTION The notion of personal authorship therefore remains an important ideology that cannot simply be ignored and probably should not be too hastily discarded. After all, questions of authorship encompass interesting complexities and ironies particularly where questions of cross-cultural reception are concerned.