Table Of Content

Duke University Press Durham and London 2020 © 2020 Duke University Press All rights reserved Printed in the United States of Amer i ca on acid-f ree paper ∞ Designed by Drew Sisk Typeset inPortrait Text, ITC Caslon 224, and ITC Avant Garde by Westchester Publishing Services Library of Congress Cataloging- in- Publication Data Names: Miyao, Daisuke, author. Title: Japonisme and the birth of cinema / Daisuke Miyao. Description: Durham : Duke University Press, 2020. | Includes bibliographical references and index. Identifiers: lccn 2019050720 (print) | lccn 2019050721 (ebook) isbn 9781478008538 (hardcover) isbn 9781478009429 (paperback) isbn 9781478008873 (ebook) Subjects: lcsh: Lumière, Auguste, 1862–1954. | Lumière, Louis, 1864–1948. | Motion pictures, French— Japan— History. | Motion pictures— France— History—19th century. | Motion pictures— Japan— History—19th century. | Japonism— France. | Orientalism— France. | Art, Modern— Japanese influences. | Art and motion pictures— France. | Culture in motion pictures. Classification: lcc pn1993.5.f8 m59 2020 (print) | lcc pn1993.5.f8 (ebook) | ddc 791.430944052— dc23 lc rec ord available at https:// lccn . loc . gov / 2019050720 lc ebook reco rd available at https:// lccn . loc. g ov /2 019050721 Cover art: Auguste and Louis Lumière (camera operator unknown), Pa norama pendant l’ascencion de la tour Eiffel (1897 or 1898). © Institut Lumière. For Yoko This page intentionally left blank CONTENTS Acknowl edgments i x Introduction 1 1 The À Travers Cinema: Japonisme and the Lumière Brothers’ Films 17 2 Japonisme and Nativized Orientalism: The Lumière Brothers’ “Japa nese Films” 59 3 Japonisme and Internalized Orientalism: Cinematographer Shibata Tsunekichi and the Birth of Cinema in Japan 99 Epilogue Japonisme and the Birth of a Female Star in Hollywood and in Japan 127 Notes 1 45 Bibliography 1 83 Index 1 97 This page intentionally left blank ACKNOWL EDGMENTS It all started in Lyon, the home of the Lumière brothers. I understand that it is impossible to pinpoint the origin of cinema. But I clearly know the origin of this book. It was in Lyon. It was in 2012. I was on sabbatical and had an incred- ible opportunity to spend a year at the Université Jean Moulin Lyon 3 as a visiting researcher. As a film historian, the first place I visited in Lyon was, of course, the famous factory where the Lumière brothers made their film on March 19, 1895. Then I started watching their 1,428 films at the Institut Lu- mière one by one. I was instantly hooked. First, I’d love to thank Laurie Wilson, the resident director through ie3 Global at the Université Lumière Lyon 2. It was Laurie who made it all pos- si ble, helping me and my wife with our visa issues, finding an apartment for us near the Institut Lumière, welcoming us with a fabulous dinner (with, of course, plenty of wine and cheese), and so on and so forth. Thank you so very much, Laurie! I must also thank Laura Hampton, the Study Abroad Program Director for ie3 Global at the Oregon State University. It was Laura who strongly recommended me to go to Lyon. I am grateful for the generous invita- tion to the Université Jean Moulin Lyon 3 by Corrado Neri, Claire Dodane, and Sophie Veron. Laurie connected us to a number of film people and food lovers in Lyon, and we became very good friends. Our life t here and the resulting book owe to them tremendously: Martin Barnier, Vincent Renner, Philippe Chapuis and Dominique Perrin, Aurélie Sauvignet and Alessandro Martini, Mirella and René Rolland, Barbara Schaff (with Elspeth and Harry), Yvette Dumont, M aenosono Nozomu, Fukuda Momoko, Ann Shriver and Larry Lev. Without the help and support from Armelle Bourdoulous and Jean- Marc Lamotte of the Institut Lumière, it would have been impossible to complete this book. They have given me exceptional access to valuable materials. And more importantly, they have been very patient with my incomprehensible French. My proj ect also involved extensive research in France, Japan, and the United States. I have been very fortunate to be assisted by many people at vari ous institutions. I thank above all the late Charles Silver and Frances Hui at the Museum of Modern Art Film Study Center in New York, Irie Yoshiro,