"Nippon Connection's Anti-Canon"

Article about the annual German film festival of Japanese moving image media.http://deepblue.lib.umich.edu/bitstream/2027.42/90908/1/Nippon Connection.pd

The Creation and Construction of Asian Cinema Redux

This article looks back to the first book imagining an “Asian cinema,” which was published in Japan on the eve of Pearl Harbor. It then works through a history of the conception of Asian cinema, discovering fundamental continuities between national and transnational cinema studies and calling for a regionalization of film history.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/111896/1/Creation.Construction.pdf1821

Private Reality

http://deepblue.lib.umich.edu/bitstream/2027.42/90890/1/Private_Reality.pdf17

The Riddle of the Vase: Ozu Yasujirô’s Late Spring

http://deepblue.lib.umich.edu/bitstream/2027.42/90889/1/Ozu_Riddle.pdf17

“Asian Film Festivals, Translation, and the International Film Festival Short Circuit."

Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/90928/1/FF Short Circuit (Short).pd

"The Terrorizer."

Film review of Edward Yang's The Terrorizer.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/90931/1/Terrorizer.Yang.pd

The Body at the Center: The Effects of the Atomic Bomb on Hiroshima and Nagasaki

http://deepblue.lib.umich.edu/bitstream/2027.42/90893/1/BodyattheCenter.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90893/2/Genbaku_eiga.pdf17

Bulldozers, Bibles, and Very Sharp Knives: The Chinese Independent Documentary Scene

http://deepblue.lib.umich.edu/bitstream/2027.42/90892/1/China_Report.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90892/4/China.Bulldozers.pdf17

"Nippon . . . Philippines . . . Peace"

http://deepblue.lib.umich.edu/bitstream/2027.42/90891/1/Dawn_of_Freedom.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90891/4/Dawn of Freedom1.pdf17

Brushed in Light

Drawing on a millennia of calligraphy theory and history, Brushed in Light examines how the brushed word appears in films and in film cultures of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent era intertitles, subtitles, title frames, letters, graffiti, end titles, and props. Markus Nornes also looks at the role of calligraphy in film culture at large, from gifts to correspondence to advertising. The book begins with a historical dimension, tracking how calligraphy is initially used in early cinema and how it is continually rearticulated by transforming conventions and the integration of new technologies. These chapters ask how calligraphy creates new meaning in cinema and demonstrate how calligraphy, cinematography, and acting work together in a single film. The last part of the book moves to other regions of theory. Nornes explores the cinematization of the handwritten word and explores how calligraphers understand their own work