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What shapes a party's ability to act strategically? We address this question by examining nomination behavior under Japanese SNTV/MMD, a system offering data that overcome the shortcomings of measurement error and static analysis that plague empirical research on party strategy. We run a series of generalized event counts (GEC) to model the number of candidates each Japanese political camp nominated at the district level in eleven different elections. The number of nominees is a highly strategic decision under SNTV, resulting in a statistical anomaly: an underdispersed event count variable. Based on the GEC results, our principal substantive finding is that parties are not as strategically capable as the existing scholarly literature claims. Even when parties are willing to act as a unified strategic group, informational uncertainty may leave them unable to do so. We also find that, despite factors that should have mitigated against strategic capacity, both ruling and opposition parties in Japan frequently responded to one another by seeking to take advantage of their opponents' strategic errors.

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Directed by Kei Kumai. Starring Kinuyo Tanaka, Kamaki Kurihara, Yoko Takahashi.

One of Tanaka's final roles, it typifies the kind of film made during the last years of her career when she went out of her way to appear in smaller, less mainstream projects. With Sandakan 8, Tanaka reaped rewards for her creative risk-taking. She received the prestigious Golden Bear acting prize at the Berlin Film Festival for her performance as a former "Karayuki-san" (women coerced into working as prostitutes in Southeast Asian during the Japanese occupation). One of the few Japanese films ever to deal with this explosive, and still controversial, legacy from WWII.

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Directed by Akira Kurosawa. Starring Toshiro Mifune, Yuzo Kayama, Tsutomu Yamazaki, Kinuyo Tanaka.

A historical drama directed by America's favorite Japanese director. Probably Kurosawa's finest film from the 1960s, Red Beard recounts the career of an Edo period physician. A classic Kurosawa epic, with big production values, innovative editing, and sweeping cinematography. The only film Tanaka made with Kurosawa.

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Directed by Mikio Naruse. Starring Kinuyo Tanaka, Isuzu Yamada, Hideko Takamine, Haruko Sugimura, Sumiko Kurishima.

Based on a novel by Aya Koda, Flowing is not only the best film of Naruse's long career, but also one of the most artful examples of a film adaptation of a literary work (Naruse's specialty). Starring some of Japan's leading actresses of the 1950s, the film offers a stark portrait of a fading geisha house as seen through the eyes of its maid, played by Tanaka.

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Directed by Kinuyo Tanaka. Starring Chishu Ryu, Hisako Yamane.

The most successful of Tanaka's six directorial efforts (and apparently, based on forays into Tanaka chat rooms, a film still cherished by her diehard fans). Made in collaboration with Yasujiro Ozu, who composed the script, the film is a gentle domestic comedy about a widowed mother and her two daughters. Tanaka appears in a bit part as the family's maid.

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Directed by Kenji Mizoguchi. Starring Kinuyo Tanaka, Machiko Kyo, Masayuki Mori

Hailed by many as one of the most beautiful films ever made, and certainly the highpoint of Mizoguchi's stellar career. One of the first Japanese films to attract international attention in the 1950s. Visually stunning and emotionally affecting. A haunting ghost story, with Tanaka as a murdered wife who returns from the dead for one more meeting with her feckless husband.

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Directed by Keisuke Kinoshita. Starring Kinuyo Tanaka, Chishu Ryu, Ken Mizuda.

Kinoshita's third film, and thought to be one of the best Japanese propaganda pieces made during WWII. Noted for its remarkable final scene, which is undeniably one of the most poignant (and manipulative) representations of home-front sacrifice ever captured on film. Tanaka plays the patriotic mother of a young army recruit.

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Directed by Yasujiro Shimazu. Starring Kinuyo Tanaka, Kokichi Takada.

A superlative film adaptation of a novel by Junichiro Tanizaki, depicting the subtly sadomasochistic relationship between a haughty musician and her faithful servant. This romantic melodrama typifies the kind of program piece that Tanaka starred in during her heyday as the leading box-office star of the 1930s. Released by Shochiku, the film also represents the distinctive "look" associated with that studio in the years before WWII.

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Dragnet Girl (1933)

Directed by Yasujiro Ozu; Starring Kinuyo Tanaka, Kenji Oka, Hideo Mitsui.

Silent film. A surprising film for those only familiar with Ozu's postwar "family dramas," but actually a representative work from the early years of his career, when he was known as one of the most innovative and "modern" directors in Japan. His idiosyncratic, and somewhat comical, take on the American gangster film, with Tanaka playing a reformed gang moll.

Piano Accompaniment by David Olachea

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The Stanford Project on Regions of Innovation and Entrepreneurship (SPRIE) is a multidisciplinary research program of the Asia-Pacific Research Center (APARC) at Stanford University which focuses on innovation and entrepreneurship in leading high technology regions in the United States and Asia. SPRIE has an active community of scholars at Stanford as well as research affiliates in the United States, China, Taiwan, Japan, Korea, Singapore, and India.

New Fellowships

As part of a new initiative on Greater China, SPRIE will select two outstanding post-docs or young scholars as the inaugural SPRIE Fellows at Stanford for the academic year 2005-2006 for research and writing on Greater China and its role in the global knowledge economy. The primary focus of the program is the intersection of innovation and entrepreneurship and underlying contemporary political, economic, technological, and/or business factors in Greater China (including Taiwan, Mainland China, Singapore). Topics of particular interest include, but are not limited to, university-industry linkages, globalization of R&D, venture capital industry development, networks and flows of managerial and technical leaders, and leading high technology clusters in Greater China. Industries of ongoing research at SPRIE include semiconductors, wireless, and software.

SPRIE Fellows at Stanford will be expected to be in residence for at least three academic quarters, beginning the Fall quarter of 2005. Fellows take part in Center activities, including research forums, seminars, and workshops throughout the academic year, and are required to present their research findings in SPRIE seminars. They will also participate as members of SPRIE's team in its public and invitation-only seminars and workshops with academic, business, and government leaders. Fellows will also participate in the publication programs of SPRIE and APARC. The Fellowship carries a stipend of $40,000.

How To Apply

Applicants should submit

  1. A statement of purpose not to exceed five single-spaced pages which describes the research and writing to be undertaken during the fellowship period, as well as the projected product(s) that will be published;
  2. a curriculum vitae (with research ability in Chinese preferred); and
  3. 2 letters of recommendation from faculty advisors or other scholars. All applicants must have Ph.D. degrees conferred by August 30, 2005.

Address all applications to:

Stanford Project on Regions of Innovation and Entrepreneurship,
Asia-Pacific Research Center,
Encina Hall -East 301,
Stanford University,
Stanford, California
USA 94305-6055

Questions? Please contact Rowena Rosario, Administrative Associate

Deadline for receipt of all materials: January 14, 2005

Applicants will be notified of fellowship decisions in March 2005

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