Asa Splinter
Asa Splinter (born August 1991) is an Art and Japanese Studies graduate student, who studied Fine Arts at ArtEZ Arnhem (NL), Japanese Studies at the University of Leuven (BE) and Leiden University (NL) and did additional study exchanges to University of the West of England (Bristol, UK) and Ritsumeikan University (Kyoto, Japan).
My field of research includes film, animation, art and gender and sexuality, with a particular interested by the development of gender identities and sexuality in Japanese art and culture. In the past I have written and published work about transgender identities in Japanese avant-garde film. I have also written for the catalogue of Museum No Hero (NL) about Japenese hostess clubs. Recently, I finished my master thesis about images of the intersexed body in premodern Japan, which received a grade with honours.
Address: Kyoto, Japan
My field of research includes film, animation, art and gender and sexuality, with a particular interested by the development of gender identities and sexuality in Japanese art and culture. In the past I have written and published work about transgender identities in Japanese avant-garde film. I have also written for the catalogue of Museum No Hero (NL) about Japenese hostess clubs. Recently, I finished my master thesis about images of the intersexed body in premodern Japan, which received a grade with honours.
Address: Kyoto, Japan
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Unpublished by Asa Splinter
BA paper voor de ArtEZ in Arnhem in het kader van de opleiding Fine Arts.
Thesis Chapters by Asa Splinter
(Matsumoto Toshio, Japan, 1969) this paper challenges homosexual and
transvestite readings of this film and elaborates on the particular relation
it implies between Matsumoto’s theory of neo-documentarism and the transgender character as a post-modern metaphor.
Publications by Asa Splinter
BA paper voor de ArtEZ in Arnhem in het kader van de opleiding Fine Arts.
(Matsumoto Toshio, Japan, 1969) this paper challenges homosexual and
transvestite readings of this film and elaborates on the particular relation
it implies between Matsumoto’s theory of neo-documentarism and the transgender character as a post-modern metaphor.