Politics, Porn and Protest: Japanese Avant-Garde Cinema in the 1960s and 1970s, STANDISH, Isolde, 2011, I bumped into a list-member who had the Sight and Sound review copy of this book, so I shall wait for that review.
Also, some books with some specific content on Japanese film :-
Japanese Counterculture: The Antiestablishment Art of Shuji Terayama, RIDGELY, Steven C., 2010. Has, for instance, a 35 page chapter on Den’en ni shisu, 1974.
Rape in ArtCinema, RUSSELL, Dominique, 2010, This is priced at £60 Has a chapter ‘Fault Lines of Vision: Rashomon and The Man Who Left His Will on Film, Eugenie BRINKEMA. The essay does engage with previous critiques of these films. I can’t remember how the editor justified the title but for Japanese films, at least, it’s hardly just ‘art films’ that are defined by rape. But that’s another story….
World Cinema and the Ethics of Realism, NAGIB, Lúcia, 2011, Has chapters on ‘The Realm of the Senses, the Ethical Imperative and the Politics of Pleasure’ and ‘Hara and Kobayashi’s ‘Private Documentaries’ ‘.
When Movies Mattered: Reviews from a Transformative Decade, KEHR, Dave, U.of Chicago P., reviewed in S&S Sep11 with mention of Ozu, Mizoguchi and Naruse. Amazon mktplc £11
Under ‘Revivals and Retrospectives’ has reviews of :-
Story of the Last [sic] Chrysanthemum, MIZOGUCHI
Record of a Tenant Gentleman, OZU
When a Woman Ascends the Stairs, NARUSE
and under ‘New Masters’ :-
Some Journal articles :-
‘Fractured Landscapes: detection, location and history in Uchida Tomu’s Kiga kaikyo / A Fugitive from the Past’, PHILLIPS, Alastair, Screen Summer 2011 pp215–232.
‘Revisiting Kurosawa Akira’s The Idiot : A comparison with Sergei Eisenstein’, by list-member Yuna De ALLOY Journal of Japanese and Korean Cinema 2:1, 2010 (There’s also article on Dersu Uzala and Okuribito in that issue.)
‘Movie advertisements and the formation of a new visual environment in interwar Japan’, FUJIKI, Hideaki, 2011 in Japan Forum 23:1. One can consider, inter alia, whether contemporary or more recent theories articulated around the new ‘figural aesthetics’ stood up to any empirical tests, and how some critics saw the ‘ubiquitous, distractive and ephemeral’ culture as superficial. Or you could just superficially admire the illustrations which are admirably reproduced.