In 2002 a manga (comic book) was for the first time successfully charged with the crime of obscenity in the Japanese courts. In The Art of Censorship Kirsten Cather traces how this case represents the most recent in a long line of sensational landmark obscenity trials that have dotted the history of postwar Japan. The objects of these trials range from a highbrow literary translation of Lady Chatterley’s Lover and modern adaptations and reprintings of Edo-period pornographic literary “classics” by authors such as Nagai Kafu to soft core and hard core pornographic films, including a collection of still photographs and the script from Oshima Nagisa’s In the Realm of the Senses, as well as adult manga. At stake in each case was the establishment of a new hierarchy for law and culture, determining, in other words, to what extent the constitutional guarantee of free expression would extend to art, artist, and audience. The work draws on diverse sources, including trial transcripts and verdicts, literary and film theory, legal scholarship, and surrounding debates in artistic journals and the press. By combining a careful analysis of the legal cases with a detailed rendering of cultural, historical, and political contexts, Cather demonstrates how legal arguments are enmeshed in a broader web of cultural forces. She offers an original, interdisciplinary analysis that shows how art and law nurtured one another even as they clashed and demonstrates the dynamic relationship between culture and law, society and politics in postwar Japan. The Art of Censorship will appeal to those interested in literary and visual studies, censorship, and the recent field of affect studies. It will also find a broad readership among cultural historians of the postwar period and fans of the works and genres discussed.
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Japan is a nation saddled with centuries of accumulated stereotypes and loaded assumptions about suicide. Many pronouncements have been made about those who have died by their own hand, without careful attention to the words of the dead themselves. Drawing upon far-ranging creations by famous twentieth- and twenty-first-century Japanese writers and little-known amateurs alike--such as death poems, suicide notes, memorials, suicide maps and manuals, works of literature, photography, film, and manga--Kirsten Cather interrogates how suicide is scripted and to what end. Entering the orbit of suicidal writers and readers with care, she shows that through close readings these works can reveal fundamental beliefs about suicide and, just as crucially, about acts of writing. These are not scripts set in stone but graven images and words nonetheless that serve to mourn the dead, straddling two impulses: to put the dead to rest and to keep them alive forever. These words reach out to us to initiate a dialogue with the dead, one that can reveal why it matters to write into and from the void.
In 2002 a manga (comic book) was for the first time successfully charged with the crime of obscenity in the Japanese courts. In The Art of Censorship Kirsten Cather traces how this case represents the most recent in a long line of sensational landmark obscenity trials that have dotted the history of postwar Japan. The objects of these trials range from a highbrow literary translation of Lady Chatterley’s Lover and modern adaptations and reprintings of Edo-period pornographic literary “classics” by authors such as Nagai Kafu to soft core and hard core pornographic films, including a collection of still photographs and the script from Oshima Nagisa’s In the Realm of the Senses, as well as adult manga. At stake in each case was the establishment of a new hierarchy for law and culture, determining, in other words, to what extent the constitutional guarantee of free expression would extend to art, artist, and audience. The work draws on diverse sources, including trial transcripts and verdicts, literary and film theory, legal scholarship, and surrounding debates in artistic journals and the press. By combining a careful analysis of the legal cases with a detailed rendering of cultural, historical, and political contexts, Cather demonstrates how legal arguments are enmeshed in a broader web of cultural forces. She offers an original, interdisciplinary analysis that shows how art and law nurtured one another even as they clashed and demonstrates the dynamic relationship between culture and law, society and politics in postwar Japan. The Art of Censorship will appeal to those interested in literary and visual studies, censorship, and the recent field of affect studies. It will also find a broad readership among cultural historians of the postwar period and fans of the works and genres discussed.
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