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Transnational, Transgeneric, Transgressive: Tracing Miike Takashi’s Yakuza Cyborgs to Sukiyaki Westerns

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This paper explores the transnationalism of Miike Takashi’s approach to film genres. Film genre has often been held as a stabilizing and internationalizing paradigm of film production, distribution, and reception, likewise with the increasingly transnational focus of Miike’s work that has accompanied his growing notoriety and fame with critics and cineastes, predominantly those outside Japan, where his fame is marginal. The paper also explores ways in which Miike’s transnational approach to genre problematizes and intervenes in transnational cinematic struggles by offering challenges to existing and homogenizing structures of genre and language. By looking at Sukiyaki Western Django (2007) as the definitive example of Miike’s transcultural generic work, the argument will examine the role of “gatekeeper auteurs” such as Tarantino and Eli Roth, in establishing Miike as the nomadic figure in world cinema.
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Keywords: Miike Takashi; Transnational cinema; authorship; cult cinema; genre

Document Type: Research Article

Affiliations: York St. John University

Publication date: 2011-03-01

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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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