Publication Type

Journal Article

Version

publishedVersion

Publication Date

3-2018

Abstract

This article focuses on the advent of synchronized sound production in Japan in 1931 – three years later than the United States – and the generative ambiguities of how sound and music’s relationship to film was figured in that year’s anxious discourse. I argue that this ‘belatedness’ is echoed in relationships of on-screen image and offscreen sound, noise, and music in two important early sound films, The Neighbor’s Wife and Mine (Gosho 1931) and A Tipsy Life (Kimura 1933).

Keywords

Japan, early sound film, musicals, offscreen space, modernity

Discipline

Asian Studies | Music

Research Areas

Humanities

Publication

Journal of Japanese and Korean Cinema

Volume

10

Issue

1

First Page

32

Last Page

46

ISSN

1756-4905

Identifier

10.1080/17564905.2018.1450470

Publisher

Taylor & Francis (Routledge): SSH Titles

Additional URL

https://doi.org/10.1080/17564905.2018.1450470

Share

COinS