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Japanese cinema is typically viewed as a masculine domain. Until the 1980s, the studio system’s structure presented a formidable barrier for women hoping to enter the industry in a creative capacity. Barring Japan’s first woman director, Sakane Tazuko, who made a single feature in 1936, the long-lost Hatsu sugata, the few who chalked up a directing credit generally hailed from an acting background. Only in the past decade have Japanese women filmmakers made real headway. Their swelling ranks and the acclaim, both domestic and international, for such names as Nishikawa Miwa (Dear Doctor, 2009; Dreams for Sale, 2012), Tanada Yuki ( Moon & Cherry, 2004;

United statesOgigami naoko kamomeNishii kazuoKawase naomiOzu yasujirKore eda hirokazuSakane tazukoTakita jojiroKitano takeshiSchool of photographyOsaka school of visual artsJapan national tourismJapan national tourism organizationNishikawa miwaDear doctorTanada yuki