This essay offers a reading of Kinugasa Teinosuke\u27s independent silent films as responses to the traumatic experience of twentieth-century modernity. Of particular interest are the global and local intertexts in A Page of Madness and Crossways, their connections to the literary criticism of the shinkankakuha, or New Perception school, and the centrality of sensory perception in Kinugasa\u27s work
