Rea Amit is assistant professor in the Department of Modern Languages, Literatures and Linguistics at the University of Oklahoma. After receiving his PhD in Film and Media Studies and East Asian Languages and Literatures from Yale University in 2016, he had taught for four years at different liberal arts colleges in Illinois.
Japan Beyondits Borders: Transnational Approaches to Film and Media, 2020
This paper explores several interactions between the cinemas of Japan and India. First, I examine... more This paper explores several interactions between the cinemas of Japan and India. First, I examine Indian films that project an image of Japan, such as Love in Tokyo (dir. Chakravorty, 1966) and Japanil Kalyanaraman ([Kalyanaraman in Japan], dir. Muthuraman, 1985). I then move on to discuss Indian films that are loosely based on Japanese films such as Koshish ([Effort], dir. Gulzar, 1972), which is a remake of Namo nakumazushiku utsukushiku ([Happiness of Us Alone], dir. Matsuyama, 1961), and Inkaar ([Refusal], dir. Sippy, 1978), a remake of Tengoku to jigoku ([High and Low], dir. Kurosawa, 1963). The paper concludes by using the reception of Indian films in Japan to contextualise the reproduction of Japan’s image in Indian cinema. Despite the existence of such transnational channels, the paper argues that Indo-Japanese cinematic relations are in fact indicative of the pervading state of localism, as well as national and cultural borders.
Japan Beyondits Borders: Transnational Approaches to Film and Media, 2020
This paper explores several interactions between the cinemas of Japan and India. First, I examine... more This paper explores several interactions between the cinemas of Japan and India. First, I examine Indian films that project an image of Japan, such as Love in Tokyo (dir. Chakravorty, 1966) and Japanil Kalyanaraman ([Kalyanaraman in Japan], dir. Muthuraman, 1985). I then move on to discuss Indian films that are loosely based on Japanese films such as Koshish ([Effort], dir. Gulzar, 1972), which is a remake of Namo nakumazushiku utsukushiku ([Happiness of Us Alone], dir. Matsuyama, 1961), and Inkaar ([Refusal], dir. Sippy, 1978), a remake of Tengoku to jigoku ([High and Low], dir. Kurosawa, 1963). The paper concludes by using the reception of Indian films in Japan to contextualise the reproduction of Japan’s image in Indian cinema. Despite the existence of such transnational channels, the paper argues that Indo-Japanese cinematic relations are in fact indicative of the pervading state of localism, as well as national and cultural borders.
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Papers by Rea Amit