Читать книгу A Companion to Documentary Film History - Группа авторов - Страница 44

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16 Hanada, K. (1978 [1957]). Gūzen no mondai [An Issue of Contingency]. In: Hanada Kiyoteru zenshū, vol. 6, 359–382. Tokyo: Kōdansha.

17 Hanada, K. (1978 [1958a]). Shuru‐dokyumentarizumu ni kansuru ichi kōsatsu [A Study of Sur‐Documentarism]. In: Hanada Kiyoteru zenshū, vol. 7, 156–160. Tokyo: Kōdansha.

18 Hanada, K. (1978 [1958b). Shukumei wo megutte [On He Who Must Die]. In: Hanada Kiyoteru zenshū, vol. 7, 161–166. Kōdansha.

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26 Imamura, T. (1941). Manga eigaron [Theory of Animated Film]. Kyoto: Daiichi geibunsha.

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30 Iwasaki, A. (1957). Kiroku eiga ni okeru watakushi no iken [My Opinion about Documentary Film]. Eiga hyōron 14 (1): 32–60.

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36 Matsumoto, T. (2012 [1958]). A Theory of Avant‐Garde Documentary, trans. Michael Raine. Cinema Journal 51 (4): 148–154.

37 Noda, S. (1973). Nihon ni okeru kiroku eiga undō [The Documentary Movement in Japan]. In: Gendai eiga jiten, revised edition (eds. S. Okada, K. Sasaki, T. Satō and S. Hani). Tokyo: Bijutsu shuppansha.

38 Nornes, A.M. (1999). Pôru Rûta/Paul Rotha and the Politics of Translation. Cinema Journal 38 (3): 91–108.

39 Ōkuma, N. (1938). Batsu [Postscript]. In: Eiga geiutsu no keishiki (ed. T. Imamura), 409–412. Tokyo: Ōshio shorin.

40 Ōtani, S. (2009). Okamoto Tarō no “taikyoku shugi” no seiritsu wo megutte [On the Formation of Okamoto Tarō’s “bipolarism”]. Tokyo kokuritsu bijutsukan kiyō 13: 18–36.

41 Petrie, D. and Kruger, R. (eds.) (1999). A Paul Rotha Reader. Exeter: University of Exeter Press.

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43 Rotha, P. (1936). Documentary Film. London: Faber and Faber.

44 Rotha, P. (1938). Bunka eigaron [Culture Film], trans. T. Atsugi. Kyoto: Daiichi geibunsha.

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48 Sasaki, K., Hanada, K., and Takeda, T. (1956). Eiga riron no hihan to sōzō [Criticism and Creation of Film Theory]. Shin‐Nihon bungaku 11 (12): 146–155.

49 Sekino, Y. (1940). ‘Kyō made no eiga’ to ashita no eiga: Dokyumentarī to Rōsa no hatten [The Film till Now and the Film of Tomorrow Today: Developments of Rotha and Documentary]. Bunga eiga kenkyūI 3 (2): 8–11; 3(3): 58–60; 3(4): 109–112; 3(5): 176–179.

50 Sugiyama, H. (1941). Eiga hyōronshū [A Collection of Film Criticism]. Kyoto: Daiichi geibunsha.

51 Sugiyama, H. (1990). Imamura Taihei: Kokō dokusō no eizō hyōronka [Imamura Taihei: A Lofty and Original Critic of the Moving Image]. Tokyo: Riburopōto.

52 Takakiba, T. (1940). Kyokō no riron: Tsumura Hideo‐shi no ‘Pōru Rūta hihan’ wo yomu [A Fabricated Theory: Reading Tsumura Hideo’s “Critiquing Paul Rotha’s Film Theory”]. Bunka eiga kenkyū 3 (1): 525–528.

53 Tosaka, J. (1937). Eiga no ninshikironteki kachi to fūzoku byōsha [Cinema’s Epistemological Value and its Depiction of Social Customs]. Nihon eiga 2 (6): 13–19.

54 Tsumura, H. (1940). Pōru Rūta eigaron hihan [Critiquing Paul Rotha’s film theory]. In: Zoku eiga to hihyō, 107–168. Tokyo: Koyama Shoten.

55 Tsumura, H. (1943). Eiga seisakuron [On Film Policy]. Tokyo: Chūo kōronsha.

56 Tsumura, H. (1944). Eigasen [Film Wars]. Tokyo: Asahi shinbunsha.

57 Winston, B. (1995). Claiming the Real: The Griersonian Documentary and its Legitimations. London: BFI.

58 Yamamoto, N. (2020). “Soviet Montage Theory and Japanese Film Criticism. In: The Japanese Cinema Book (eds. H. Fujii and A. Phillips). London: BFI.