Double Visions, Double Fictions

A fresh take on the dopplegnger and its place in Japanese film and literaturepast and present Since its earliest known use in German Romanticism in the late 1700s, the word Doppelgnger (double-walker) can be found throughout a vast array of literature, culture, and media. This motif of doubling can also be seen traversing historical and cultural boundaries. Double Visions, Double Fictions analyzes the myriad manifestations of the doppelgnger in Japanese literary and cinematic texts at two historical junctures: the interwar period of the 1920s and 1930s and the present day. According to author Baryon Tensor Posadas, the doppelgnger marks the intersection of the historical impact of psychoanalytic theory, the genre of detective fiction in Japan, early Japanese cinema, and the cultural production of Japanese colonialism. He examines the doppelgngers appearance in the works of Edogawa Rampo, Tanizaki Junichiro, and Akutagawa Ryunosuke, as well as the films of Tsukamoto Shinya and Kurosawa Kiyoshi, not only as a recurrent motif but also as a critical practice of concepts. Following these explorations, Posadas asks: What were the social, political, and material conditions that mobilized the desire for the doppelgnger? And how does the dopplegnger capture social transformations taking place at these historical moments? Double Visions, Double Fictions ultimately reveals how the doppelgnger motif provides a fascinating new backdrop for understanding the enmeshment of past and present.