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Topic: Cinema of Japan

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Japanese cinema

Cinema of the United Kingdom

Itami Juzo

Woman in the Dunes

Mizoguchi Kenji

Masaki Kobayashi

Yasujiro Ozu

History of cinema in the United Kingdom

Suzuki Seijun

The Bad Sleep Well

Yukisada Isao

Takeshi Kitano

Ishii Sogo

Terror of Mechagodzilla

Ringu 0

	kamera.co.uk - book review - The Cinema of Japan and Korea by Justin Bowyer (Ed) - reviewed by Colin Odell and ...
		The Cinema of Japan and Korea - Amazon.co.uk
		The Cinema of Japan and Korea continues Wallflower's 24 Frames series of books, which aim to focus on 24 key (or indicative) films of a national cinema's output.
		The Cinema of Japan and Korea never fails to stimulate or provide a springboard for further research - it is both intelligent and accessible.
	www.kamera.co.uk /books/the_cinema_of_japan_and_korea.php (727 words)

	Midnight Eye book review: The Cinema of Japan and Korea (editor: Justin Bowyer, publisher: Wallflower Press)
		That Japan's rich cinematic heritage is worthy of a book in its own right is an obvious retort, as is the question as to why Japan and Korea should be put together in a single volume in the first place.
		The Cinema of Japan and Korea is made up of 24 essays on as many individual films (13 from Japan, 11 from Korea), written by a team of contributors ranging from the well-established to the relatively new, all from a variety of backgrounds (including yours truly and my esteemed co-editor on this website Jasper Sharp).
		The Cinema of Japan and Korea is well worth considering for its Japanese half, and pretty much indispensable for its Korean section.
	www.midnighteye.com /books/cinema-of-japan-and-korea.shtml (0 words)

	Cinema of Japan - Definition, explanation
		Cinema has a history in Japan that spans more than 100 years.
		Most Japanese cinema theatres at the time employed benshi, narrators whose dramatic readings accompanied the film and its musical score which, like in the West, was often performed live.
		With the SCAP occupation following the end of WWII, Japan is exposed to over a decade's worth of American animation that had been banned under the war-time government.
	www.calsky.com /lexikon/en/txt/c/ci/cinema_of_japan.php (0 words)

	The Cinema of Japan and Korea; ; Edited by Justin Bowyer
		The Cinema of Japan and Korea; ; Edited by Justin Bowyer
		The Cinema of Japan and Korea is the second volume in the new Twenty-Four Frames series that studies national and regional cinema.
		Focusing on the vibrant practices of Japanese and Korean cinema.
	www.columbia.edu /cu/cup/catalog/data/190476/1904764126.HTM (162 words)

	[No title]
		Although a great many innovative films from Japan were made during the period after the Second World War as a result of the newly granted freedom that was available to artists, writers and filmmakers, Japan had always had a rich national tradition of cinema that dated back to the very early days of motion pictures.
		Japan's film industry was a collection a small companies each one with its own directors, writers,producers, and actors who were in fierce competition with one another.
		The second trait that many of Japan's finest films share is that they are not intended to be studies of individual people or small intimate groups, but are meant to represent large cross-sections of the population who take different paths in life, make different choices and end up in different places by the film's end.
	members.tripod.com /dennismichaeliannuzz/JapanCinema.html (981 words)

	American University Library - National Cinema, Japan
		In 16th century Japan, an aging ruler, Lord Hidetora, attempts to divide his kingdom among his three sons, who turn against each other and betray their father, triggering events that ultimately shatter the kingdom, destroy the family, and drive their father insane.
		In feudal Japan four people who are involved in the murder of a gentleman and the rape of his wife report differing views of what actually happened.
		Depicts Japan's defeat and the subsequent Allied occupation as they affect the lives of a fifth grade teacher and her students on the island of Awaji in the Inland Sea.
	www.library.american.edu /subject/media/japanese.html (3900 words)

	MATSUDA: The Arrival of Cinema in Japan
		Cinema was first introduced to Japan in 1896 when the Kinetoscope, invented by Thomas Edison three years earlier, was imported to Kobe.
		During the first two decades after cinema was introduced to Japan, it was considered to be an object of curiosity and was billed as a rare Western invention.
		In Japan however, due to technical difficulties involved with equipping theaters with sound-compatible facilities, silent films continued to be the norm for many years and were not entirely replaced by talkies until the year 1935.
	www.matsudafilm.com /matsuda/c_pages/c_c_1e.html (1661 words)

	Cinema Studies/Japan and Its Cinema in the 1990's (Site not responding. Last check: )
		The Unit for Cinema Studies, with the co-sponsorhip of the Center for East Asian and Pacific Studies, in cooperation with The Japan Foundation, presents a series of 1990's Japanese films dealing with life in contemporary Japan and made by four of Japan's most acclaimed directors.
		An older, rural widower (Rentaro Mikuni) and his sons work through a strained relationship caused in part by the boys moving to Tokyo and by the father's stubbornness in remaining in the country.
		Director Hirokazu Kore-eda began his film-making career with documentaries about social issues (such as biographies of the first person in Japan to admit publicly to having AIDS and of a Korean man who "passed" as Japanese for decades); turning to features, Kore-eda was named the most promising new director by the Tokyo International Film Association.
	www.uiuc.edu /unit/cinema/events/archive/japan90s.html (670 words)

	Face of Another: Japanese Cinema/Global Images
		This mainstream version of Japan as a "cultural nation," visibly asserting its distinctiveness in Western museums, theatres, gardens, and art galleries, as well as in the cinema, was abetted in Japan by institutionalized attitudes about its unique character, an unabashed cultural pride seemingly ratified by astounding economic success.
		As cinema studies matured, Japan became western cinema's "privileged Other," first as a repository of trasnscendental cultural values and then, after the 'political turn' of the 1960s and 1970s, for its alterative presentation of the sign.
		From Mizoguchi to Kitano, the pure face of Japanese cinema, limned from within or projected from without, was always an affectation, a carefully cultivated presentation associated with a genre of films designed primarily to be ogled at foreign festivals.
	www.yale.edu /filmstudiesprogram/Japan (1232 words)

	Article-The Cinema of Japan and Korea -24 Frames-
		The Cinema of Japan and Korea is the second volume in the new Twenty-Four Frames series that studies national and regional cinema.
		In one of the first English-language studies of Korean cinema to date, Kyung Hyun Kim shows how the New Korean Cinema of the past quarter century has used the trope of masculinity to mirror the profound sociopolitical changes in the country.
		The Cinema of Japan and Korea, part of Wallflower's 24 Frames series, consists of 24 essays, 13 Japanese and 11 Korean films, written by a number of individuals from academic or journalistic backgrounds.
	www.minihttpserver.net /z_book/A_the_cinema_of_japan_-1904764118.htm (0 words)

	Bright Lights Film Journal \| Japanese Cinema
		The Spirit Moves: The World of Kenji Mizoguchi — Mizoguchi, with Ozu and Kurosawa one of the three undisputed masters from the golden age of Japanese cinema, was born in 1898 in the middle class district of Hongo, in Tokyo.
		Two events occurred when the future director was seven that may have played a pivotal role in the kinds of films he would make.
		Japan's first film actress: Tokuko Nagai Takagi (1891 – 1919) — This forgotten star was caught up — and perhaps crushed — by larger historical forces
	www.brightlightsfilm.com /japan.html (0 words)

	Bright Lights Film Journal \| Japanese Silent Cinema
		Through an unfortunate collusion of circumstances, most of Japan’s silent films — which endured into the 1930s, after the West had switched exclusively to sound — were destroyed.
		This ensemble showed the West’s early influence on Japanese culture, being composed equally of instruments from both Japan (taiko drums, for example) and the West (trumpets and piano).
		The scene shows a woman obviously in crisis — perhaps the archetypal Mizoguchi image — with the director’s elegant moving camera tracking her as she runs and then in front of her, seeming to lead her along to what looks like further terrors.
	www.brightlightsfilm.com /31/japanesesilent.html (0 words)

	Discover Japan: Cinema \| japanese cinema, japanese cinemas, leaving silver japanese cinema
		There are a number of action films in American cinema that have Japanese themes that many people enjoy.
		But aside from the films and Japanese cinematic art forms that are fairly common, there are a host of other films that many people who are not familiar with Japanese may not be aware of.
		Japanese cinema has more to offer than martial arts films and video game-styles shows and graphics; here are some descriptions of Japanese films and directors that range in subject and style.
	www.japandiscovery.com /leisure/cinema/index.html (213 words)

	GreenCine \| Japanese Cinema to 1960
		Japan has long had one of the most beautiful cinemas in the world, with masterpieces extant from its prolonged silent era, from the militarist period of the late 1930s and early 1940s, through the postwar era of American occupation and economic resurgence.
		German Expressionist cinema of the 1920s would influence two films by Teinosuke Kinugasa (1896-1982), who had entered cinema as a female impersonator in 1917 and directed two highly regarded experimental narratives, A Page of Madness (1926) and Crossroads (1928).
		As they decade wore on, Japan's increasingly militarist government instituted a crackdown on the political content of films, which were expected by the end of the decade to conform to a "national policy" of pro-family and pro-military values.
	www.greencine.com /static/primers/japan-60-1.jsp (2116 words)

	Vitro Nasu » Japan (Site not responding. Last check: )
		Japan, on the other hand, as I saw it in Terayama’s theater, was utterly fantastic, yet closer to the world I knew and lived in.
		His Japan was like a great, colorful souk, or like a costume party in which the guests tried on this costume and then that—old, new, Japanese, Chinese, European.
		He made Japan look sexy If Mao’s version of “Asiatic despotism” appealed to religious puritans, Terayama’s Japan was the modern version of a sensual Orient that has attracted libertines and appalled missionaries for centuries.
	www.mutanteggplant.com /vitro-nasu/category/culture/japan (4108 words)

	PopMatters \| Columns \| Brian Ruh \| From Here to Shinjuku \| America's Japanese Cinema: Appropriating Japan's Cachet of ...
		If we are to believe the film, the island nation of Japan is an inherently spiritual place, the people are natural hard workers, and a highly developed sense of honor is what drives their daily actions.
		Japan's cultural exports are no longer limited to obsessed fans of Japanese animation and video games.
		True, all three films feature the country of Japan in a starring role and were made with the support of Japanese actors and crew, but they are all distinctly American imaginings of Japan.
	www.popmatters.com /columns/ruh/040114.shtml (1402 words)

	Japan Sessions (Site not responding. Last check: )
		Whereas the term "war cinema" as it has been used in postwar Japanese film scholarship broadly refers to films produced between 1937 and 1945, Japanese film culture itself was inscribed within an ongoing and much larger imperial enterprise on the behalf of which colonial war(s) were fought.
		Idealized representations of the cultural geography of Asia were vital to the legitimization of Japan’s imperial project and constructed a simulated spatial relationship between consumers of imperial film culture and the cultural landscape of empire (here denoted as specific geographic spaces and their indigenous populations).
		This presentation will examine the process by which a new cinematic language was created during the transition from silent to sound cinema in Japan from the early 1930s to the early 1940s and situates this transition against the backdrop of both increasing regional awareness within Japan and the expanding Japanese empire.
	www.aasianst.org /absts/2006abst/Japan/j-145.htm (958 words)

	Books Around: The Flash of Capital. By Chris Gehman
		For many of them Japan was a place one would go to obsess over that thing called “Japan,” and to forget about the rest of the world.
		Because it was aesthetic qualities that drew me to Japan as well –— an attention to form, an interesting transparency of structure, these things that I didn’t really have a language for when I was first there, but which I felt and had an affinity for.
		His influence from Japanese cinema was tremendous, and this led me much deeper into film, until I realized that I could look at Japanese film, and it would let me do this kind of work.
	www.cinema-scope.com /cs24/col_books.htm (4137 words)

	[No title]
		Electric power had just begun to be used in Japan (Kyoto was one of the cities in Japan where wiring was done relatively early), and numerous difficulties had to be overcome.
		According to this view, if world cinema was born when Lumire first introduc ed the Cinmatographe to a paying public, then cinema in Japan also began wi th the first introduction of the Cinmatographe to the general public.
		The first man to record Japan on films has been accused in many books of being a failure as an technican, and that most of the footage he shot was poor.
	www.cmn.hs.h.kyoto-u.ac.jp /NO1/SUBJECT1/INAEN.HTM (1229 words)

	Modern Japan - Famous Japanese - Oshima Nagisa
		Born in Kyoto and a graduate of Kyoto University, Oshima was a leader of the leftist, Shochiku New Wave of young directors who were inspired by French cinema in the 1960's.
		In Japan, his most popular film was Night and Fog in Japan (Nihon no Yoru to Kiri, 1960), a critical look at the left-wing in Japan.
		He is best known abroad for three films: the controversial French-produced In the Realm of the Senses (Ai no Korida, 1976), a study of sexual obsession based on a true story; its 1978 sequel Empire of Passion (Ai no Borei), which won the best director award at Cannes and 1983's Merry Christmas, Mr.
	www.japan-zone.com /modern/oshima_nagisa.shtml (322 words)

	Cinema of Japan at Film-North, Kurosawa
		He argues that jidaigeki is not a bastion of tradition and feudalism: "The assertion that by idealizing feudalistic social relations jidaigeki functioned as an ideological apparatus of Japanese militarism is basically a fiction" (224)."
		Cinema's international dimension and scope justified a new academic unit: it had artists, various nationalities, and interdisciplinary affiliations.
		Filled with beautiful fl and white photography and dynamic montage, his movement of the camera and use of long shots complemented the complex and circular story.
	film.vtheatre.net /japan.html (2463 words)

	Going to the cinema in Japan: part 1 of 2 » 世論 What Japan Thinks - Japanese Opinion Polls and Market Research ...
		I found the infrequency of cinema visits in Q1 rather surprising, with over two in five visiting once every sixth months or less and another one in five not having visited at all in recent years, but sadly there is no follow-up questions to find out why they don’t visit more often.
		However, if people turn up at the cinema and find no seats leftfor their favourite film, they may often choose another one since they’ve come all the way to the cinema, so if seat availability could be checked from home they’d actually have less custom.
		Japan going to the dogs, gaijin hanzai (foreigner crime) blamed: part 2 of 2
	whatjapanthinks.com /2006/11/10/going-to-the-cinema-in-japan-part-1-of-2 (591 words)

	Throw Away Your Books: Japanese Cinema
		Like any good student of the cinema (and the university I went to was the "university of cinema", natch), my entry point into Japanese film was via some of the big, fat, humanist, arthouse pictures: The Burmese Harp (Kon Ichikawa, 1956), The Human Condition (Masaki Kobayashi, 1959-61), Ikiru (Akira Kurosawa, 1952).
		When discovering the cinema of any country, it is impossible to ignore its great auteurs.
		Japanese Cinema at MIFF 2000 by Freda Freiberg
	www.sensesofcinema.com /contents/00/7/japanese.html (1159 words)

	Topicality sports and cinema in Japan -:: JaponOnline.com - Japan within reach:: (Site not responding. Last check: )
		The occasion to remember that if Japan is a very sure country, its company is able to generate individuals who, very young people, are capable of acts which largely exceed the framework of the fiction.
		The occasion also for the Japanese to consider what badly turned in their company or their education system (the 4 year old little boy was found naked and mutilated).
		As for Matsui, known as Godzilla, in reference to its "monstrous" performances when it played in Japan, although it does not answer yet waitings of its many fans, it goes up slightly in power: its rate of sure striking is currently close to 33%, which is already a beautiful performance in oneself.
	trans.voila.fr /voila?systran_lp=fr_en&systran_id=Voila-fr&systran_url=www.japononline.com/article.php?sid=382&systran_f=100000000000 (698 words)

	Film Criticism and The Study of Cinema In Japan
		Lange, is evident in his dismissal of cinema as an art form.
		Hasegawa was concerned with the relationship of cinema with mass reproduction at almost same time, in 1937, as W.
		The last stage of film criticism "grasping the physiology of film" (by which KITAGAWA was of course suggesting Kishi's style of criticism) can be regarded as more or less an evidence of a kind of maturity, which cannot however, compare with the case of literary criticism.
	www.raizofan.net /eng/history1.htm (3205 words)

	Jetset Japan InfoZone - Essential Japan Living Information
		Cinemas in outlying towns typically receive only the most popular, and heavily promoted foreign (mostly American) films.
		Going to the cinema in Japan is very expensive and costs from ¥1,800 upwards but there are a few options to cut this cost:
		Some cinemas also offer discounts for the last showing or for weekday lunchtime showings and a ticket for films after 8pm may cost you only ¥1,300, however check with your local cinema.
	www.jetsetjapan.com /infozone-leis-av.shtml (1344 words)

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