Acknowledgments -- Index . Beyond Ozu and Loach: Kore-eda Hirokazu in Japanese and World Cinema -- Nonorganized Labor and Shared Spaces of Collaboration in Kore-eda's Early Documentaries -- Grifter Families and Networks of Exchange in Shoplifters -- Reimagining Masculine Bodies in Hana; Like Father, Like Son; and The Third Murder -- Body Moving: The Dynamics of Placemaking in Our Little Sister, Still Walking, and After the Storm -- Private and Public Bodies of Memory in After Life, The Truth, and Distance -- Interviews with Kore-eda Hirokazu -- Filmography -- Bibliography -- Index .
Summary:
"Films like Shoplifters and After the Storm have made Kore-eda Hirokazu one of the most acclaimed auteurs working today. Critics often see Kore-eda as a director steeped in the Japanese tradition defined by Yasujirō Ozu. Marc Yamada, however, views Kore-eda's work in relation to the same socioeconomic concerns explored by other contemporary international filmmakers. Yamada reveals that a type of excess, not the minimalism associated with traditional aesthetics, defines Kore-eda's trademark humanism. This excess manifests in small moments when a desire for human connection exceeds the logic of the institutions and policies formed by the neoliberal values that have shaped modern-day Japan. As Yamada shows, Kore-eda captures the shared spaces formed by bodies that move, perform, and assemble in ways that express the humanistic impulse at the core of the filmmaker's expanding worldwide appeal"-- Provided by publisher.
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