Introduction: Defining, Theorising and Approaching Japanese Film, Fashion and Modernity Part 1 - On Sartoriality and Speaking: 'Expressive' Women and Western Attire 1.1 - Fashionable female imagery between media formats: Tanizaki Jun'ichiro's Naomi (1924) and the concept of marketable female star "types" 1.2 - Sartoriality and Expressivity Pre- and Post- Sound: The Vernacular Voice, The Western-Attired Woman and the City 1.3 - Fashion Commodities Onscreen:the Modern Housewife in Naruse Mikio's No Blood Relation (Nasanu Naka, 1932) and Masculine Female Attire in Ozu Yasujiro's Dragnet Girl (Hijosen no onna, 1933 ) Part 2 - Sportswear and Hybridity: The National Body and Gender 2.1 - Sportswear and Hybridity: The Middle-Class Housewife as Hybridised Consumer Archetype 2.2 - Women and the Sporting Body 2.3 - Men and the Sporting Body Part 3 - Menswear and the Modern Boy: Ozu Yasujiro and Western Style for Men 3.1 - Historically Contextualising Japanese Male Fashion: Western-style Menswear, the Cinema and Space 3.

2 - Opposition to Western-style Menswear and the Desire for "Authentic" Japanese Male Commercial Identity Archetypes:Shochiku's shoshimin eiga and Ozu's commercially augmented everyday male life onscreen 3.3 - Was Ozu a "Modern Boy"? Negotiating Related Sartorial Archetypes Book Conclusion Reference List Filmography.