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Daisuke Miyao

Ph.D. (New York University)


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Primary Phone: Contact Department
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Email: dmiyao@ucsd.edu

Hajime Mori Chair in Japanese Language and Literature
Recipient of 2015 NEH Summer Grant
Director of Doctoral Studies, Literature

Considering cinema to be a transnational cultural form from the beginning of its history and simultaneously to be a national entity, formed by specific discourses on nationalism and modernization, Professor Miyao has been conducting research on film history. His interdisciplinary training in cinema studies, East Asian studies, and American studies, combined with his bicultural background, living and studying both in Japanese and North American academia, made it possible for him to recognize that the study of film could benefit from cross-cultural and interdisciplinary perspectives. Professor Miyao received his B.A. in American Studies from the University of Tokyo in 1993 (with honor), M.A. in Area Studies from the University of Tokyo in 1995, M.A. in Cinema Studies from New York University in 1997, and Ph.D. in Cinema Studies from New York University in 2003 (with distinction). Before joining the UCSD faculty in 2014, he taught at Columbia University as Postdoctoral Fellow in Expanding East Asian Studies Program, the University of California, Berkeley as Postdoctoral Fellow in Film Studies, and the University of Oregon where he chaired the Department of East Asian Languages and Literatures. He received, among others, NEH Summer Stipends in 2015,  ACLS/SSRC/NEH International and Area Studies Fellowship in 2010-11, Center for the Study of Women in Society Research Grant in 2010-11, and Oregon Humanities Center Research Award in 2009.  He has served as a visiting professor at the Global Studies Program of Université Jean Moulin Lyon 3 in France in 2012-13.

Selected Publications:

Monographs (in English)

The Aesthetics Shadow: Lighting and Japanese Cinema. Durham, N.C.: Duke University Press, 2013.
Invited by the Museum of Modern Art (MoMA) and the Deutsche Kinemathek Museum fur Film und Fernsehen to the 64th Berlin International Film Festival  (2014).

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

Monograph (in Japanese)

Eiga wa neko dearu: Hajimete no cinema sutadizu [Cinema Is a Cat: Introduction to Cinema Studies]. Tokyo: Heibon sha, 2011.

Edited Volumes

The Oxford Handbook of Japanese Cinema, ed. Daisuke Miyao. Oxford: Oxford University Press, 2014.  

Casio Abe, Beat Takeshi vs. Takeshi Kitano, eds. Daisuke Miyao and William Gardner.  New York: Kaya, 2004.

Refereed Journal Articles

"Japonisme and the Birth of Cinema: A Transmedial and Transnational Analysis of the Lumière Brothers’ Films."  Journal of Japonisme.  In production.

"The Hand of Buddha: Madame Butterfly and the Yellow Peril in Fritz Lang’s Harakiri (1919)."  Quarterly Review of Film and Video.  In production.

"Lumière! Cinéma Inventé."  Nineteenth-Century Art Worldwide 14.2 (Autumn 2015).  In production.

"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.

"Bright Lights, Big City: Lighting, Technological Modernity, and Ozu Yasujiro’s Sono yo no tsuma (That Night’s Wife, 1930)."  positions: asia critique 22.1 (2014): 161-201.

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

"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.

"Telephilia vs. Cinephilia = Beat Takeshi vs. Takeshi Kitano?" Framework: The Journal of Cinema and Media 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.  

"Blue vs. Red: Takeshi Kitano's Color Scheme." Post Script: Essays in Film and Humanities 18.1 (Fall 1998): 112-27.

"Doubleness: American Images of Japanese Men in Silent Spy Films." The Japanese Journal of American Studies 9 (1998): 69-95.

"Whatever Happened to The Grapes of Wrath?: Hollywood's Mythmaking in the 1930s." Chiiki Bunka Kenkyu [Area Studies, University of Tokyo] 12 (Jan. 1997): 55-81.

"Eiga suta Hayakawa Sesshu: Sosoki Hariuddo to nihonjin [Sessue Hayakawa a Movie Star: Early Hollywood and the Japanese]." Amerika Kenkyu  [American Studies, The Japanese Association for American Studies] 30 (1996): 227-46.

Academic Book Chapters

"Ozu and the Aesthetics of Shadow: Lighting and Cinematography in There Was a Father (Chichi ariki, 1942)."  Ozuesque, ed. Jinhee Choi London: Oxford University Press.  In production.

"What Is the Director of Photography?: The Trans-Pacific Work of Japanese Cinematographers, 1910s-2010s."  Japanese Film Book, eds. Alastair Philips and Hideaki Fujiki.  London: BFI.  In production.

"Telephilia vs. Cinephilia = Beat Takeshi vs. Takeshi Kitano?"  Japanese Popular Culture, eds.  Matt Allen and Rumi Sakamoto.  Oxford: Routledge.  Reprint of the article with the same title in Framework: The Journal of Cinema and Media 45.2 (Fall 2004): 56-61.  In production.

"A Star Is Born: The Transnational Success of The Cheat and Its Race and Gender Politics."  The American Film History Reader, eds. Jon Lewis and Eric Smoodin.  Oxford: Routledge, 2015.  Reprint of Chapter 1 in Sessue Hayakawa: Silent Cinema and Transnational Stardom (Durham, NC: Duke University Press, 2007), 21-49, 285-90.  In production.

"Out of the Past: ‘Film Noir,’ Whiteness, and the End of the Monochrome Era in Japanese Cinema."  East Asian Noir, ed. Chi Yun Shin and Mark Gallagher.  London: I. B. Tauris. 2015, 21-36.

"The Cinema and the Sword: Inventing Patterns of Japanese Culture.”  Inventing Asia: American Perceptions and Influences around 1900, eds. Alan Chong and Noriko Murai.  Boston: Isabella Stewart Gardner Museum, 2014, 170-80.

"Die Erfindung der Ästhetik des Scattens: Beleuchtung im japanischen Film von 1920 bis in die 1950er Jahre [Invention of the Aesthetics of Shadow: History of Lighting in Japanese Cinema 1920-1950].”  Ästhetik der Schatten: Filmisches Licht 1915-1950, eds. Connie Betz, Julia Pattis and Rainer Rother.  Berlin: Schüren, 2014, 22-45.

"Introduction." Oxford Handbook of Japanese Cinema, ed. Daisuke Miyao.  Oxford: Oxford University Press, 2014, 1-10.

"Nationalizing Madame Butterfly: The Formation of Female Stars in Japanese Cinema." Oxford Handbook of Japanese Cinema, ed. Daisuke Miyao.  Oxford: Oxford University Press, 2014, 152-71.

"Sessue Hayakawa: The Racialized Body vs. Photogenie." Flickers of Desire: Movie Stars in the 1910s, ed. Jennifer M. Bean.  New Brunswick, N.J.: Rutgers University Press, 2011, 91-112.

"Kaogiri: Hayashi Chojiro, Shochiku jidaigeki, soshite josei kankyaku [Slaying face: Hayashi Chojiro, Shochiku jidaigeki and female audience]." Nihon eiga to kankyaku [Japanese Cinema and Its Audience], ed. Fujiki Hideaki. Tokyo: Shinwa sha, 2011, 1-29.

"Nihon eiga to Hariuddo [Japanese cinema and Hollywood]." Nihon eiga wa ikiteiru [Japanese cinema is alive], ed. Yomota Inuhiko.  Tokyo: Iwanami shoten, 2010, 201-26.

"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, 2007, 193-204.

"Hariuddo eiga, haken no seiritsu: Chito ni miru ‘kotenteki 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.

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

"Translator’s Introduction." Kiju Yoshida, Ozu’s Anti-Cinema, trans. Daisuke Miyao and Kyoko Hirano.  Ann Arbor: Center for Japanese Studies, University of Michigan, 2003, ix-xx.


Kiju Yoshida, Ozu’s Anti-Cinema, trans. Daisuke Miyao and Kyoko Hirano.  Ann Arbor: Center for Japanese Studies, University of Michigan, 2003.

James Quandt, ed. Kon Ichikawa. Toronto: Cinematheque Ontario, 2001.