By Lorna Fitzsimmons, John A. Lent
Pop culture in Asia consists reviews of movie, track, structure, tv, and computer-mediated conversation in China, Japan, South Korea, Taiwan, the Philippines, Malaysia, and Singapore, addressing 3 subject matters: city modernities; modernity, megastar, and fan tradition; and reminiscence and modernity.
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Extra resources for Popular Culture in Asia: Memory, City, Celebrity
40. , 132, 134. 41. , 133. 42. Hirakawa suggests Schweitzer as a “prototype, or at least an element of the idealist Mizushima,” “Image of the Former British Enemies,” 224. Also see Minear, “Introduction: Takeyama Michio,” 13. Wimal Dissanayake points to some parallels between The Burmese Harp and Ikiru in Narratives of Agency: Self-Making in China, India, and Japan (Minneapolis, MN: University of Minnesota Press, 1996), 182–9, 193–8. 43. See Friedrich Nietzsche, The Anti-Christ, in Twilight of the Idols and The AntiChrist, trans.
61 The re-inscription of the idealized Burmese landscape as Japan’s war-torn valley of death is nowhere more pronounced than in the cave scene. This cardinal scene transposes the implicit hell vision through which Takeyama critiques the modern state. In the ﬁlm, however, the scene is strategically repositioned and signiﬁcantly altered. In the novel, the scene is narrated analeptically as part of the protagonist Mizushima’s letter, recited by the captain in the second half, as the company sails back to Japan.
Smith, Donald Eugene. Religion and Politics in Burma. Princeton, NJ: Princeton University Press, 1965. Stam, Robert. ” In Film Adaptation, edited by James Naremore, 54–76. New Brunswick: Rutgers University Press, 2000. Stewart, Alastair. ” Film Journal 14 (November, 1959): 27–8. Takemae, Eiji. Inside GHQ: The Allied Occupation of Japan and Its Legacy. Translated by Robert Ricketts and Sebastian Swann. New York: Continuum, 2002. Takeyama, Michio. Harp of Burma [Biruma no tategoto]. Translated by Howard Hibbett.