In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale—the space where artists and theorists work between the level of the individual and larger global and historical shifts. She examines intermedia, experimental animation, and Marxist theories of the culture industries of the 1960s and 1970s in the work of artists and thinkers ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and the Three Animators' Group to art critic Hanada Kiyoteru and landscape theorist Matsuda Masao. She also outlines how twenty-first-century Japanese artists—especially those responding to the Fukushima disaster—adopt and adapt this earlier work to reframe ideas about collectivity, community, and connectivity in the space between the individual and the system.
- Cover
- Contents
- Acknowledgments
- Introduction
- Part I: Intermedia and Its Potentialities
- 1. The Feeling of Being in the Contemporary Age: The Rise of Intermedia
- 2. Intermedia Moments in Japanese Experimental Animation
- 3. The Culture Industries and Media Theory in Japan: Transformations in Leftist Thought
- Part II: The Afterlife of Art in Japan
- 4. A Feminist Phenomenology of Media: Ishiuchi Miyako
- 5. From Postwar to Contemporary Art
- 6. Moves Like Sand: Community and Collectivity in Japanese Contemporary Art
- Conclusion: Parallax and Afterlives
- Notes
- Bibliography
- Index
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- Q
- R
- S
- T
- U
- V
- W
- X
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- Z
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