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To the Distant Observer: Form and Meaning in the Japanese Cinema
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Cited by

  • 2022Enacting the Worlds of Cinema23 cited
  • 1982Fiction and Reality16 cited
  • 2013Metafiguring Bollywood: Brecht after Om Shanti Om14 cited
  • 1984Television as ideological apparatus: The power and the pleasure13 cited
  • 2017Reorienting Ozu12 cited
  • 2013Film style and narration inRashomon11 cited
  • 2021Realist Cinema as World Cinema9 cited
  • 2014Space and Intermediality in Jia Zhang-ke’s Still Life8 cited
  • 1995Boundary riding: Cross‐cultural analysis, national cinema and genre7 cited
  • 2002Malaysian Cinema, Asian Film6 cited
  • 2010Expressive Meaning and Historical Grounding in the Film Music of Fumio Hayasaka and Toru Takemitsu5 cited
  • 2002Pasolini and the Limits of Resistance1 cited
  • 2013Flashes of the Sword and the Star0 cited

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