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Topic: Imamura Shohei

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	Shohei Imamura
		Visually, Imamura reflects the country’s pervasive sentiment of rootlessness and absence of direction through episodic cross-cutting between parallel storylines, fragmented narrative, and off-axis camera angles, often positioned near waist level (a reflection of Imamura’s familiar theme of instinctual human sexuality) or at ceiling height to reflect the characters’ basality.
		Note Imamura’s implementation of a dizzied, rotating crane shot to depict Haruko’s violation at the hands of a trio of drunken sailors that reinforces the upended - and increasingly estranged - role of the Allied forces as both military conquerors and humanitarian reconstructionists of a ravaged nation.
		Shohei Imamura presents an unsentimental, provocative, and compassionate examination of resilience, pragmatism, and the essence of human behavior in The Insect Woman.
	www.filmref.com /directors/dirpages/imamura.html (2163 words)

	Shohei Imamura (Site not responding. Last check: 2007-11-07)
		Produced in conjunction with a 1997-1998 retrospective tour of films, Shohei Imamura is a comprehensive introduction to the eclectic oeuvre of a director renowned for his depictions of Japanese society's "lower dregs" (113).
		Shohei Imamura also unwittingly enacts certain problematic characteristics of English-language studies of Japanese film, as identified by Mitsuhiro Yoshimoto (author of the recently-published volume, Kurosawa): namely, an uneasy division between theoretical/aesthetic analyses of Imamura's films, on the one hand, and cultural/historical readings, on the other.
		Thus, while Shohei Imamura is a comprehensive and informative introduction to Imamura's films - as well as themes such as marginality and modernity that characterize those works - these two tendencies unwittingly combine to reinforce an anachronistic sense of Japanese film studies as something largely unrelated to Japanese scholarship and spectatorship of its own cinema.
	www.nottingham.ac.uk /film/journal/bookrev/imamura-emperor.htm (1246 words)

	Pergő Képek filmes folyóirat, MAFSZ, Magyar Független Film és Video Szövetség, Film, Video, Függetlenfilm, ... (Site not responding. Last check: 2007-11-07)
		A másik Japán, Imamura filmjei szerint, hívjuk így, a ‘valóságos verzió’.
		Imamura témáit figyelve arra a következtetésre is juthatunk, hogy a kolonizáció, a megszállás egyfajta obszessziója, hogy Japán történelméből a II.
		Imamura az életet kémleli, voyeur, megfigyelő, aki beavatkozik, mert tudja, hogy már a jelenléte, létezése is beavatkozás.
	www.pergokepek.hu /hu/issuearticle.aspx?GUID=71cbcd78-1567-43b8-8f6a-76cedabcf780 (3992 words)

	IMAMURA Shohei
		The director Imamura Shohei, author of a "counter-history" in Japan, was born in 1926 in Tokyo.
		He continued in the same demystifying vein with Nipon konchuki (Entomological Chronicle of Japan/The Woman Insect, 1963), a portrait of a prostitute fighting for her independence, Akai satsui (Murderous Desires, 1964) and particularly Jinruigaki nyumon (Introduction to Anthropology/The Pornographer, 1965), adapted from Nozaka's novel, where the theme of sexuality came to the fore.
		In a much deserved turn-around, Imamura was awarded the Palme d'or at the Festival de Cannes in 1983 for Narayama bushi-ko (The Ballad of Narayama).
	www.pardo.ch /1997/filmprg/r131.html (315 words)

	The Films of Shohei Imamura (Site not responding. Last check: 2007-11-07)
		The focus in his examination of the seamy underside of seemingly squeaky-clean Japanese society is that basic social unit and cauldron of all joys and woes, the family.
		The protagonist is a young theater student -- a stand-in for himself, Imamura has acknowledged in interviews -- who finds in the troupe a passion missing from his colleagues who have made good in the burgeoning TV industry.
		Imamura flashes back to the sociopath's family life in an attempt to comprehend his behavior.
	www.bostonphoenix.com /archive/movies/98/01/22/shohei_imamura.html (1295 words)

	Shohei Imamura -- Shohei Imamura (今村昌平) (Tokyo,... (Site not responding. Last check: 2007-11-07)
		Shohei Imamura (今村昌平) (Tokyo, 15 september 1926) is een Japans filmregisseur.
		Imamura werd in Tokyo geboren als derde zoon van een arts.
		Imamura werd twee keer onderscheiden met de Gouden Palm, in 1983 voor Narayama Bushiko (The Ballad of Narayama), en in 1997 voor Unagi (The Eel).
	shohei-imamura.nl.tracking24.net (251 words)

	Cannes 97
		Imamura returns to the Palais with a typically personal film which subjects contemporary Japan to his critical gaze.
		Imamura has a reputation for working in a much less stylised manner than Japanese cinema is known for - internationally anyway.
		Imamura does not criticise the strong, ancient passions that threaten to burst through the surface and envelop his characters, but feels that they are as essentially Japanese as the layers of refinement placed on the country's citizens by centuries of tradition.
	www.filmfestivals.com /cannes97/cfilmd25.htm (673 words)

	Japanese film director Shohei Imamura speaks to the World Socialist Web Site (Site not responding. Last check: 2007-11-07)
		Imamura's characters are often poverty-stricken women and invariably social outcasts—prostitutes, pimps, pornographers, fl marketeers or others on the margins of society—but always portrayed with the utmost objectivity.
		Born in 1926 in Tokyo, the son of a doctor, Imamura, was interested in the theatre at an early age and enrolled in literature studies in Waseda University in 1945, where he wrote plays and acted.
		In the 1970s Imamura directed The History of Postwar Japan as told by a Bar Hostess and Vengeance is Mine, and in the 1980s, The Ballad of Narayama, a graphic depiction of village life in 19th century Japan, Zengen, and Black Rain, about the atomic bombing of Hiroshima.
	www.wsws.org /articles/2000/sep2000/imam-s19.shtml (2059 words)

	Chicago Reader Movie Review
		Imamura was a teenager at the end of the war, and one comes away from this film feeling that a settling of accounts was a major motivation for it.
		Imamura is fascinated with the way the camp commander's paranoia and Akagi's liver fixation become opposite sides of the same coin, both men selflessly serving the emperor even when they become hopelessly at odds with each other.
		This conclusion could be Imamura's motto, staking his trust in the subversive rather than the orderly and, incidentally, signaling that this is Sonoko's movie as much as the good doctor's--the awesome finale belongs to them equally.
	www.chicagoreader.com /movies/archives/1999/0599/05079.html (1327 words)

	Shohei Imamura @ Filmbug UK
		Writer, director, and producer, Shohei Imamura was born in Tokyo in 1926.
		Gradually, Imamura emerged as one of the leading directors of postwar Japanese cinema, an insightful filmmaker with a keen interest in Japanese culture and society, both new and old, and a talent for depicting the human condition audaciously and with dark humor.
		He is also known as a slow and meticulous worker who spends a great deal of time researching and planning his projects to deeply dig and reveal the undercurrents of Japanese society, and all of it sensual and irrational energy.
	www.filmbug.co.uk /db/342887 (395 words)

	Movies Other\| (Site not responding. Last check: 2007-11-07)
		Even in interiors, Imamura likes to divide the screen into several distinct spaces (the houses here are often shown in long shot and depicted as cluttered but neat).
		Imamura has always been attracted to small-town Japan, seeing it as an alternative to the materialist, ultramodern culture of big cities and their consequent dehumanizing anomie.
		Imamura started off as an assistant to Yasujiro Ozu, but when he began making his own films, he rebelled against his mentor’s placidity.
	www.bostonphoenix.com /boston/movies/reviews/documents/02330394.htm (739 words)

	Dr. Akagi (NR, 1999) (Site not responding. Last check: 2007-11-07)
		Imamura is unapologetic in portraying the WWII-era dictatorial regime as foolish and inhuman, blind to the needs of its populace and downright vicious toward some of their POWs.
		The difference is that he possesses the strength of character to realize when things have gone too far and is able to step back and reconsider what is most important for his patients, while the military seems to be too blind to realize that the war is lost.
		It has been said that tragedy is a farce in retrospective, and Imamura seems to understand that, as he approaches the plight of the Japanese citizens with the appropriate empathy, yet still finds room for humor in what is essentially an absurd situation.
	members.aol.com /ReviewsKTP/akagi.html (547 words)

	Film & TV: The Eel (Austin Chronicle . 11-23-98)
		Co-winner of the Palme d'Or at Cannes in 1997, The Eel by Shohei Imamura (Black Rain) is the director's thoughtful meditation on love, death, and, well, eels.
		Imamura's characters play out their extraordinary lives against a backdrop of drama, comedy, and the surreal that rivals Twin Peaks for sheer oddity.
		It's no wonder Imamura has now collected not one but two Palmes d'Ors; The Eel is a flash of quiet brilliance that resonates long after the images have faded from the screen.
	weeklywire.com /ww/11-23-98/austin_screens_film3.html (513 words)

	CINEMA ASIATIQUE :SHOHEI IMAMURA (Site not responding. Last check: 2007-11-07)
		Shohei IMAMURA est né le 15 Septembre 1926 à; Tokyo.
		Les thèmes récurent chez Shohei IMAMURA sont les traditions villageoises et la réflexion sur la société japonaise comme La vengeance est a moi (Fukushu suru wa waremiari) en 1979.
		Shohei IMAMURA est aussi un témoin de la guerre et à vécu de l'intérieur la bombe atomique qui traumatisa grand nombre de réalisateurs japonais.
	www.cineasie.com /IMAMURA.html (618 words)

	Modern Japan - Famous Japanese - Imamura Shohei
		But as a member of the New Wave, along with Oshima Nagisa, Imamura moved away from his former mentor's quiet understatement and traditional views to establish a style that celebrates the primitive and spontaneous side of the Japanese character.
		Though many of Imamura's films portray people from the lower classes - prostitutes, traveling actors and porn movie producers among them - he himself was born the third son of a doctor and studied literature at Tokyo's prestigious Waseda University.
		Imamura began to receive acclaim from abroad in the 1980s as his work became better known.
	www.japan-zone.com /modern/imamura_shohei.shtml (700 words)

	Literature Film Quarterly: Seeing between the lines: Imamura Shohei's Kuroi Ame (Black Rain) (Site not responding. Last check: 2007-11-07)
		Imamura's attention to Yasuko's marriage naturally leads the movie to focus on the present of 1950.
		Imamura thus displays the continuous effect of the A-bomb, which does not release its victims even years after the event.
		Imamura's redesign of the narrative to give greater visibility to Yasuko is apparent throughout.
	www.findarticles.com /p/articles/mi_qa3768/is_199801/ai_n8769432 (1165 words)

	eye - Class conflict and smut peddling - 11.13.97
		Shohei Imamura has been a leading figure in Japanese cinema for the past 35 years, and his latest film, The Eel, was a co-winner of the Palme D'Or at Cannes this year.
		Although Imamura was the privileged son of a doctor, he spent his youth living with bar hostesses and fl marketers during the upheaval of Japanese society after the Second World War, and those formative experiences led to a lifelong fascination with the lower classes.
		According to Donald Richie in "Notes For A Study On Shohei Imamura," the typical shot in an Imamura film consists of energy and movement spilling over the edges of a carefully composed frame.
	www.eye.net /eye/issue/issue_11.13.97/film/imamura13.html (568 words)

	Japanese Directors - Shohei Imamura
		Winner of the Palme d'Or at the 1997 Cannes Film Festival, this masterpiece from Shohei Imamura is a bold, frequently offbeat exploration of crime and punishment, guilt and redemption, and the elusive possibility of salvation through love.
		Shohei Imamura again demonstrates his masterful, audacious talent in this feature that is bursting with vitality and humor.
		Directed by Japanese auteur Shohei Imamura (The Ballad of Narayama, The Eel), this charmingly bizarre slice of magic realism is an engaging variation on the male mid-life crisis movie.
	www.101language.com /foreignvids-jap-imamura.html (861 words)

	Journal Notes: 2001
		Of the archetypal Imamura woman, Bock explains, The creative eccentricity that can be ascribed to Imamura lies in the realm of cinematic genre, for he rejects both the slow pace and the long-suffering image of the 'woman's film'.
		Shohei Imamura is a compilation of reflective, analytical, and appreciative essays on Imamura's idiosyncratic and critical, yet compassionate films that examine the dichotomy of human behavior in the structured, conformist, and highly ordered society of Japan.
		By capturing an objective and compassionate portrait of instinctual human behavior, Shohei Imamura is often described as a social entomologist of modern Japan.
	www.filmref.com /journal2001.html (7060 words)

	Kuroi ame (Black Rain)
		The theory on why director Shohei Imamura shot this 1989 film in fl and white is the images - not the least bit gratuitous or sensational - of atomic destruction would be true gruesome to withstand in color.
		Imamura has not set out to make a film condemning anyone for the war or the decisions that led to its end.
		Imamura's film might not be a great movie either, but it does an excellent job at presenting a very specific perspective on a nation's reaction to an event that forever changed their country as well as the world.
	www.metalasylum.com /ragingbull/movies/kuroiame.html (2350 words)

	Chicago Reader Movie Review
		A onetime assistant to Yasujiro Ozu, Imamura developed his style largely in opposition to the formal neatness of this master--in fact, he positively wallows in unruliness.
		For instance, Takuro's former prison mate accuses him in one scene of having invented or hallucinated the anonymous letter that informed him of his wife's infidelity, arguing that his feelings of inadequacy as a lover combined with his jealousy were the pretext.
		Imamura takes great pains to recount the mating and migrating habits of eels and then virtually repeats the speech, which is obviously relevant to Takuro's story.
	www.chicagoreader.com /movies/archives/1998/0998/09118a.html (1208 words)

	Japanese filmmaker Imamura featured in series (Site not responding. Last check: 2007-11-07)
		Imamura is still making powerful, award-winning films four decades after he helped reinvent Japanese postwar cinema.
		Ribald, realistic and conscious of class, Imamura's films break down artistic and social conventions and offer instead an unsentimental view of Japanese life in the late 20th century.
		Imamura's films are radically different from those of the more traditional Japanese masters, most of which deal with issues facing Japan's middle class.
	www.news.cornell.edu /Chronicle/98/1.22.98/cinema.html (507 words)

	Waggish: Shohei Imamura, Pigs and Battleships
		Shohei Imamura is one of my favorite directors, and it's a recurring frustration that I haven't been able to see more of his movies; many just aren't available in the states, and his recent work is nowhere near as great as the amazing films he made from 1961 to the mid-80's.
		After the film, I argued with a friend who said that the conflicts--young man trying to be successful for his girlfriend--were cliched, and the characters were not interesting in themselves.
		Imamura presents a setting that I have never experienced, and makes the people and the cultural systems behind them seem as tangible as the people I see on the subway each morning.
	www.waggish.org /2004/12/shohei_imamura_pigs_and_battleships.html (436 words)

	Robert Fulford's column about Shohei Imamura
		At the age of 70, Imamura is now receiving the international attention his powerful and memorable films have deserved for many years.
		People can be appalled by the brutality of their first Imamura film; but later they may realize that it left them with the memory of something truthful and valuable.
		Imamura demonstrates just how unsentimental he can be when he portrays life in isolated rural Japan.
	www.robertfulford.com /imamura.html (876 words)

	MovieMartyr.com - Vengeance is Mine
		Shohei Imamura’s Vengeance is Mine deftly combines cold impartiality and unerring perceptiveness to create one of the most impressive and troubling serial killer movies of all time.
		As Imamura continues to study Iwao, he uncovers further layers of his behavior, and always attempts to achieve a deeper understanding of him by refusing to settle for comfortable solutions to the puzzle of his character.
		Imamura is always changing his perspective on Iwao so that it’s impossible to see him as a stock character.
	www.moviemartyr.com /1979/vengeanceismine.htm (780 words)

	Shohei Imamura (Site not responding. Last check: 2007-11-07)
		Shohei Imamura's ribald, darkly comic films about messy human relationships and coarse, indomitable women repelled early European critics who had grown to cherish the graceful, exotic image of Japan typified by Kenji Mizoguchi films.
		Born in 1926, in Tokyo, Imamura attended the elite elementary and middle schools that normally would have aimed him toward a prestigious university degree and a comfortable career in business or government.
		Imamura found Ozu's notorious rigidity in both camerawork and coaching of actors to be repugnant.
	www.djangomusic.com /actor_bio.asp?pid=P+95413 (567 words)

	Warm Water Under A Red Bridge (Site not responding. Last check: 2007-11-07)
		For a director who has spent most of his career eschewing the predictable, Imamura, who is 76, seems to be tired of intellectual and theoretical analysis and has made a film that, on the one hand, prompts metaphorical analysis, but on the other, avoids it at every turn.
		Typically for Imamura, the community is dotted with bizarre characters: an African runner in Japan on a athletics scholarship with a penchant for net fishing; Saeko’s senile grandmother who writes prophetic blessings by the ream, and the three elderly fisherman besotted with Saeko all give the seaside town a whimsical charm.
		However, Imamura’s characters often have traumatic histories and in Warm Water, Saeko takes the prize for the most traumatised (she witnessed the watery death of her mother as she took part in a fertility festival on the banks of a local river.)
	www.highangle.co.uk /reviews/warmwater.html (670 words)

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