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Unexpected alliances: independent filmmakers, the state, and the film industry in postauthoritarian South Korea

is well documented. Furahata writes eloquently and in a concise style, conveying these influences and the multifaceted expressions and reactions to this in Japanese avantgarde cinema. The use of images throughout the text give the reader a heightened understanding and aesthetic appreciation for the application of theory to images and vice-versa. The ways in which certain ideas are connected is done elegantly and with sophistication. The references to other works are well explained even if they are unknown to the reader. This book expands our knowledge of a chapter of cinema and its theoretical importance, adding greatly to the English discourse of Japanese cinema. The conclusion begins with a comparison between the media and political influences and methods of coverage of Expo 70 and the Asama Sansō Incident. This original and rigorous exposition emphasizes the synthesis of the ‘politics of the streets’ and the praxis of the screen. The separation of the screen from the ‘politics of the street’ is a symptom of global capitalism and limitless liberal democracy. Furuhata proposes a grand renewal of actuality and the politics of the real in the age of the Internet and social media. The limitless nature of global capitalism and liberal democracy has created a global social hegemony. Furuhata envisions a deconstruction and shattering of this social hegemony through the rapid growth and global use of social media. A return to actuality and the politics of the street can be seen in the recent global events of the Arab Spring and Occupy movements. These movements are testament to the growing role of virtual social media becoming actualized and centered in the politics of the street.