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The aim of The Oxford Handbook of Japanese Cinema is to provide the reader with multifaceted single-volume account of Japanese cinema. This volume addresses productive debates about what Japanese cinema is, where Japanese cinema is, as well as what and where Japanese cinema studies is, at the so-called period of crisis of national boundary under globalization and the so-called period of crisis of cinema under digitalization. By doing so, this collection responds to a number of developments in the rapidly changing field of cinema and media studies. It also challenges a number of underdeveloped areas in the discipline. Our ambition has been to build bridges and foster dialogues among Japanese scholars of Japanese cinema; film scholars of Japanese cinema based in Anglo-American and European countries; film scholars of non-Japanese cinema; nonfilm scholars, including scholars in other disciplines; film archivists; and film producers who are familiar with film scholarship.
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