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520 |a This chapter examines the choices made regarding film sound—music, sound, and noise—for creating a target-oriented image of Japan for the anticipated German audience in Atarashiki tsuchi (New Earth aka Die Tochter des Samurai, 1937). This Japanese-German co-produced film, produced entirely in Japan, with a binational cast and crew and in a highly politicised context, was supposed to showcase both contemporary Japan and its film industry to the world. The use of sound for the creation of meaning in this film has been largely overlooked in favour of its strong visuals. However, an analysis of selected sections shows that the major messages are actually encoded on the soundtrack and that a focus on sound provides a potent tool for revealing the underlying imbalance regarding cultural power and authority at work in the project. 
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contents This chapter examines the choices made regarding film sound—music, sound, and noise—for creating a target-oriented image of Japan for the anticipated German audience in Atarashiki tsuchi (New Earth aka Die Tochter des Samurai, 1937). This Japanese-German co-produced film, produced entirely in Japan, with a binational cast and crew and in a highly politicised context, was supposed to showcase both contemporary Japan and its film industry to the world. The use of sound for the creation of meaning in this film has been largely overlooked in favour of its strong visuals. However, an analysis of selected sections shows that the major messages are actually encoded on the soundtrack and that a focus on sound provides a potent tool for revealing the underlying imbalance regarding cultural power and authority at work in the project.
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spelling Haukamp, Iris auth, Chapter 7 Listening to the talkies Atarashiki tsuchi’s (1937) acoustic construction of Japan for western consumption, Taylor & Francis 2023, 1 electronic resource (22 p.), text txt rdacontent, computer c rdamedia, online resource cr rdacarrier, Open Access star Unrestricted online access, This chapter examines the choices made regarding film sound—music, sound, and noise—for creating a target-oriented image of Japan for the anticipated German audience in Atarashiki tsuchi (New Earth aka Die Tochter des Samurai, 1937). This Japanese-German co-produced film, produced entirely in Japan, with a binational cast and crew and in a highly politicised context, was supposed to showcase both contemporary Japan and its film industry to the world. The use of sound for the creation of meaning in this film has been largely overlooked in favour of its strong visuals. However, an analysis of selected sections shows that the major messages are actually encoded on the soundtrack and that a focus on sound provides a potent tool for revealing the underlying imbalance regarding cultural power and authority at work in the project., Creative Commons https://creativecommons.org/licenses/by-nc-nd/4.0/ cc https://creativecommons.org/licenses/by-nc-nd/4.0/, English, nnaa OAPEN Library UUID: Asian Sound Cultures, www.oapen.org https://library.oapen.org/bitstream/20.500.12657/57871/1/9781003143772_10.4324_9781003143772-11.pdf.pdf 0 DOAB: download the publication, www.oapen.org https://directory.doabooks.org/handle/20.500.12854/91245 0 DOAB: description of the publication, txt, nc, Music, Theory Of Music & Musicology, Regional Studies, Asian, Christin, Cultures, Haukamp, Hoene, Iris, Matyn, Noise, Smith, Sound, Technology, Voice, Ethnomusicology, Performance
spellingShingle Haukamp, Iris, Chapter 7 Listening to the talkies: Atarashiki tsuchi’s (1937) acoustic construction of Japan for western consumption, This chapter examines the choices made regarding film sound—music, sound, and noise—for creating a target-oriented image of Japan for the anticipated German audience in Atarashiki tsuchi (New Earth aka Die Tochter des Samurai, 1937). This Japanese-German co-produced film, produced entirely in Japan, with a binational cast and crew and in a highly politicised context, was supposed to showcase both contemporary Japan and its film industry to the world. The use of sound for the creation of meaning in this film has been largely overlooked in favour of its strong visuals. However, an analysis of selected sections shows that the major messages are actually encoded on the soundtrack and that a focus on sound provides a potent tool for revealing the underlying imbalance regarding cultural power and authority at work in the project., Music, Theory Of Music & Musicology, Regional Studies, Asian, Christin, Cultures, Haukamp, Hoene, Iris, Matyn, Noise, Smith, Sound, Technology, Voice, Ethnomusicology, Performance
title Chapter 7 Listening to the talkies: Atarashiki tsuchi’s (1937) acoustic construction of Japan for western consumption
title_auth Chapter 7 Listening to the talkies Atarashiki tsuchi’s (1937) acoustic construction of Japan for western consumption
title_full Chapter 7 Listening to the talkies Atarashiki tsuchi’s (1937) acoustic construction of Japan for western consumption
title_fullStr Chapter 7 Listening to the talkies Atarashiki tsuchi’s (1937) acoustic construction of Japan for western consumption
title_full_unstemmed Chapter 7 Listening to the talkies Atarashiki tsuchi’s (1937) acoustic construction of Japan for western consumption
title_in_hierarchy
title_short Chapter 7 Listening to the talkies
title_sort chapter 7 listening to the talkies atarashiki tsuchi s 1937 acoustic construction of japan for western consumption
title_sub Atarashiki tsuchi’s (1937) acoustic construction of Japan for western consumption
topic Music, Theory Of Music & Musicology, Regional Studies, Asian, Christin, Cultures, Haukamp, Hoene, Iris, Matyn, Noise, Smith, Sound, Technology, Voice, Ethnomusicology, Performance
topic_facet Music, Theory Of Music & Musicology, Regional Studies, Asian, Christin, Cultures, Haukamp, Hoene, Iris, Matyn, Noise, Smith, Sound, Technology, Voice, Ethnomusicology, Performance
url https://library.oapen.org/bitstream/20.500.12657/57871/1/9781003143772_10.4324_9781003143772-11.pdf.pdf, https://directory.doabooks.org/handle/20.500.12854/91245