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To the Distant Observer: Form and Meaning in the Japanese Cinema
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  • 2007Moving Forward, Looking Back : The European Avant-garde and the Invention of Film Culture, 1919-1939113 cited
  • 2014Cinema of actuality: Japanese avant-garde filmmaking in the season of image politics71 cited
  • 1991Doubleness and idiosyncrasy in cross‐cultural analysis38 cited
  • 2001Reigniting Japanese Tradition with Hana-Bi35 cited
  • 1996Shifting codes, dissolving identities32 cited
  • 2006Benshi as Stars: The Irony of the Popularity and Respectability of Voice Performers in Japanese Cinema30 cited
  • 2011The Question of Translation in Taiwanese Colonial Cinematic Space25 cited
  • 2009Pitfalls of cross-cultural analysis: Chinesewenyifilm and melodrama20 cited
  • 2004New Perceptions: Kinugasa Teinosuke's Films and Japanese Modernism19 cited
  • 2002From Edogawa to Miyazaki: cinematic and anime -ic architectures of early and late twentieth-century Japan19 cited
  • 2009The Altering Eye: Contemporary International Cinema18 cited
  • 2016Cinema, thought, immanence: Contemplating signs and empty spaces in the films of Ozu17 cited
  • 2011Visual Aesthetics and Ways of Seeing: Comparing Ringu and The Ring13 cited
  • 1984Television as ideological apparatus: The power and the pleasure

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13 cited
  • 2015Contemporary Japanese Cinema Since Hana-Bi11 cited
  • 2019Powers of the Real: Cinema, Gender, and Emotion in Interwar Japan10 cited