Associate Professor, Japanese Film B.A., University of Tokyo, 1993 M.A., New York University, 1997; University of Tokyo, 1995 Ph.D., New York University, 2003 office: 302 Friendly Hall phone: (541) 346-4010 email: dmiyao@uoregon.edu

Research and Teaching Interests:

Film history, film theory

Courses Taught 2005-2009:

EALL399 Contemporary East Asian Film
JPN607 Silent Film World
JPN607 Film Theory and Japanese Film
JPN471/571 Japanese Cinema: Cinematography
JPN410/510 Film Noir and Japan
JPN410/510 Melodrama: East and West
JPN410/510 Ozu and World Cinema
JPN399 Introduction to Japanese Film
JPN307 Introduction to Japanese Literature and Culture III
JPN199 Masters of Japanese Cinema
JPN199 Japanese Cinema in the World

Selected Publications:

Books:

Monograph:

Sessue Hayakawa: Silent Cinema and Transnational Stardom (Durham, N.C.: Duke University Press, 2007). Awarded the 2007 Book Award in History from the Association of Asian American Studies.

Edited Volumes:

Oxford Handbook of Japanese Cinema Edited by Miyao (Oxford: Oxford University Press), forthcoming.

Beat Takeshi vs. Takeshi Kitano by Casio Abe. Forward by Miyao. Edited with William O. Gardner (New York: Kaya, 2004).

Ozu's Anti-Cinema by Kiju Yoshida. Introduction by Miyao. Translated with Kyoko Hirano (Ann Arbor: Center for Japanese Studies, University of Michigan, 2003).

Articles and Essays:

"Bright Lights, Big City: Lighting, Technological Modernity, and Ozu Yasujiro's Sono yo no tsuma (That Night's Wife, 1930)," positions: east Asia cultures critique, forthcoming.

"Sessue Hayakawa: The Racialized Body vs. Photogenie," Stare Decades: American Culture/American Cinema, eds. Adreinne L. McLean and Murray Pomerance (New Brunswick, N.J.: Rutgers University Press), forthcoming.

"Containment of Horror: Tsuru Aoki's Transnational Stardom," Screening Trans-Asia: Genre, Stardom, and Intellectual Imaginaries, eds. Chris Berry and Zhang Zhen (Hong Kong: University of Hong-Kong Press), forthcoming.

"Hollywood Zen," Oshima Nagisa Chosakushu Dai 4 Kan [Writings of Oshima Nagisa Volume 4], ed. Yomota Inuhiko (Tokyo: Gendai shicho sha, 2009), 297-317.

"From Doppelganger to Monster: Kitano Takeshi's Takeshis'," Canadian Journal of Film Studies, 18.1 (Spring 2009): 6-23.

"Dark Visions of Japanese Film Noir: Suzuki Seijun's Branded to Kill (1967)," Japanese Film: Texts and Contexts, eds. Alastair Phillips and Julian Stringer (London: Routledge, 2008), 193-204.

"Thieves of Baghdad: Transnational Networks of Cinema and Anime in the 1920s," Mechademia 2: Networks of Desire, ed. Frenchy Lunning (Minneapolis: University of Minnesota Press, 2007), 83-102.

"Nihon Bumu [Japan Boom]," Genten Amerika shi [Original documents in American History], ed. Igarashi Takeshi (Tokyo: Iwanami shoten, 2006), 346-355.

"Global Hollywood," Gendai Amerika no kiwado [Keywords in contemporary America], eds. Yoshihara and Yaguchi Yujin (Tokyo: Chumon sha, 2006), 148-152.

"Hariuddo eiga, haken no seiritsu: Chuto ni miru 'kotenki Hariuddo eiga' no sutairu to ideorogi [Hollywood cinema, the emergence of hegemony: The style and ideology of 'Classical Hollywood Cinema' in The Cheat]," Amerika bunka shi nyumon [Introduction to American Cultural History], ed. Kamei Shunsuke (Kyoto: Showado, 2006), 151-173.

"Telephilia vs. Cinephilia = Beat Takeshi vs. Takeshi Kitano?," Framework 45.2 (Fall 2004): 56-61.

"Triple Consciousness: Sessue Hayakawa at Haworth Pictures Corporation," Pacific and American Studies 2 (March 2002): 129-45.

"Before Anime: Animation and The Pure Film Movement in Prewar Japan," Japan Forum 14.2 (2002): 191-209.