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At some point along the way I realised that I have always found talking and reading about films much more compelling than actually watching them. It seems inevitable, then, that my doctoral project initially devised as close readings of selected screen works has ended up being about discursive practices rather than artistic ones, not texts but their contexts.
I also feel that I need to come clear by confessing that I never write at libraries, or for that matter in whatever office space I have. One thing I will certainly take with me from the experience of working on this dissertation is that materiality matters and space links people from different eras. Therefore I am tempted to state my own working conditions. It was not always easy to keep going but it would have been much worse if the following places did not exist: Afternoon Tease, Arts Picturehouse Cafe, Grads Cafe and Massaro’s at Cambridge; ambient cafe Mole, Banda no hana, Cafe Bibliotic Hello, Cafe Kocsi, Cafe Loop, Cafe Zanpano, Coffee House Maki, efish, Elephant Factory Coffee, 58 Diner, Kamogawa Cafe, Kissa Inon, Kyoto Soh-an Cafe, Ōgaki Bookstore Cafe, Rebun Cafe, Sentido, Shinshindō, TRACTION book cafe and Tsuki to rokupensu in Kyoto; Boheem, Kamahouse, Lyon Cafe, Reval Cafe, Rucola and Veski Kõrts in Tallinn. Eventually, the experience of sitting, jotting and typing in cafes proved to be so excessive that by the last stretches of writing I had quit drinking coffee for good. The soundtrack of this thesis is the album Sticky Fingers by the Rolling Stones.
INTRODUCTION
CHAPTER ONE WRITING A HISTORY
Film histories and scriptwriting
Exclusion from histories
Inclusion in historis
Scriptwriting in Japanese film histories
Contribution to film history
CHAPTER THREE SITUATING THE SCRIPTWRITER
The status of the scriptwriter
Geniuses and craftsmen
Scenario writer and scenario author
CHAPTER FOUR LOOKING FOR LITERATURE
Semi-independence of the scenario
The Scenario Literature
Examples of readers
Itami Mansaku’s scenario reviews
