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Different from Difference: Revisiting Kurutta ichipeiji

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Hailed as revolutionary for technical and narrative filmic achievements at the time of its 1926 debut, Kurutta ichipeiji (A Crazy Page) has come to represent avant-garde and even deconstructionist tendencies to recent film critics. Both critics writing at the time of its release and those writing after its rediscovery in the mid-1970s emphasize the revolutionary character of the film; however, the terms upon which these two groups consider the film differ widely. Viewing the film within various historical enables both assessment of the degree to which the film can be considered revolutionary and, indeed, interpretation of the film's dominant images and style. Recent critics, however, have chosen to discuss the socio-historically determined binaries of self and other and of real and fictive as constants, unrelated to differences of space and time.

Keywords: Kurutta ichipeiji; avant-garde; deconstructionist; different interpretations; film; revolutionary

Document Type: Research Article


Affiliations: Princeton University

Publication date: 2001-09-01

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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