Abstract
ABSTRACT As the beginnings of the popular Japanese crime genre coincided with the end of American occupation, this genre offers a space of historically visible transnationality. Through formal analysis, this research identifies a cultural plurality embedded within crime cinema. Examining the adoption of film noir aesthetics in Japan alongside the development of the nationalistic ninkyō eiga (chivalry film), I argue the crime genre formed as a culturally hybrid genre in tension between these conflicting identities. The crime film demonstrates a dialectical tension between local and international cultural signifiers and cinematic styles, which result in a set of hybrid symbols that repeat on-end the dialectic tension embedded in their formation.
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