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fact that publishers have not put out many collected works of directors and
film critics, or film-related “kōza,” which are collections of fundamental
essays that often help define a field, is an indication of the continued low
cultural status of cinema in Japan. The few of these that exist are then very
important in providing access to writings otherwise hard to find, even if they
can be limited. The Gendai Nihon eigaron
taikei is a godsend collection of postwar criticism and theory, but only
covers 1945 to 1970. The essay collections for Kinema junpō and Eiga hyōron
are valuable, but only a drop in the bucket, and Makino’s reprints help those
access monographs that are otherwise out of print. Japan has seen the
publication of several kōza-like series in recent years, which follow up on the
groundbreaking Kōza Nihon eiga and
are a boon to the discipline.
The link provided gives access to a search list of all the volumes in the Kōza collection. However, each volume may also be accessed individually. For example, the first volume may be found under the same publisher and the title, Nihon eiga no tanjō / 日本映画の誕生.