Japanese films of 1962

Japanese films of 1962 - Factbites
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Topic: Japanese films of 1962

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In the News (Wed 23 Dec 09)

Northern Trust

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Hugh Jackman

	Midnight Eye feature: Japanese Anime and the Animated Cartoon
		The rhetoric of neutrality holds no water in regards to films like Anju To Zushiomaru (1961 / US version: The Littlest Warrior, 1962) or Wanpaku Oji No Orochi Taiji (1962 / US version: The Little Prince and the Eight-Headed Dragon, 1964), both of which featured stories and characters drenched in stereotypically Japanese images.
		Heavily orientalized as many of the prewar shorts and early Toei films were, Legend of the White Serpent is a remake of a Japanese version of a Chinese folk tale, a romantic look back at a fertile colonial territory that suddenly became inaccessible to Japanese citizens after the war.
		Manga Entertainment surely does, their website justly boasting of "cultivat[ing] the international theatrical market for Japanese animated feature films." The incredible international success of Spirited Away (2001) came only five years after Tokuma Publishing signed an international distribution contract with Disney's Buena Vista Entertainment.
	www.midnighteye.com /features/animated_cartoon.shtml (1509 words)

	Princeton University Senior Theses brief display
		Lynn, Richard John (1962): The Initial Influence of Japanese Art upon European Painting: The Breakdown of Academicism and the Intellectual Crisis of the Middle of the Nineteenth Century.
		Suchenski, Richard (2005): Japanese Aesthetic Traditions and the Crisis of Modernity in the Period Films of Mizoguchi Kenji.
		Hotta, Eri (1994): The Japanese Occupation of Singapore, 1942-1945: Its Impact and Implications.
	libweb5.princeton.edu /theses/thesesvw.asp?Lname=&Fname=&Submit=Search&Title1=japanese&department=&Class=&Adviser= (4492 words)

	Toshiro Mifune
		He has been brash and reckless inThe Seven Samurai (1954), stoic and droll inYojimbo (1961) and its sequel Sanjuro (1962), paranoid and irrational inThrone of Blood (1957), and swashbucklingly heroic inThe Hidden Fortress (1958).
		In 1951, Akira Kurosawa (1910 — 1998) single-handedly introduced the Occident to Japanese cinema, and throughout the West has remained the most famous director from the Land of the Rising Sun.
		Mifune had originally planned a film career behind the camera as a cinematographer, but wound up before the lens in 1946'sShin Baka Jidai he first worked with Kurosawa in 1948's Drunken Angel He made one attempt at directing in 1963,Goju Man-nin no Isan which was a failure; his production company now makes films for TV.
	www.movietreasures.com /main/Toshiro_Mifune/toshiro_mifune.html (4492 words)

	Akira Kurosawa - MSN Encarta
		Akira Kurosawa (1910-1998), Japanese motion-picture director, known worldwide for the variety and visual beauty of his films.
		Kurosawa also directed motion pictures with contemporary settings, such as Ikiru (1952; To Live, 1960) and Akahige (Red Beard, 1965), but his historical films, including Shichinin o samurai (1954; The Seven Samurai, 1956), Yojimbo (1961; The Bodyguard, 1962), and Sanjuro (1962), attracted his largest following.
		Deeply rooted in the Japanese samurai code of behavior, which extols working for the good of others and the subordination of selfish desires, Kurosawa's motion pictures were thought to possess universal appeal, and European and American filmmakers openly imitated them.
	encarta.msn.com /encyclopedia_761568412/Akira_Kurosawa.html (473 words)

	Northwest Asian Weekly
		Sassy, bossy and even violent at times, some of the women of Ozu’s films are refreshingly atypical of the Western view of Japanese females.
		From Feb. 3 to March 10, the Northwest Film Forum will present an extensive retrospective of the work of Yasujiro Ozu, the filmmaker who depicted the lives of his fellow Japanese so affectionately.
		Included in the retrospective are several silent black-and-white films that will be accompanied by an orchestra consisting of internationally renowned musicians and composers, including Elizabeth Falconer (one of Seattle’s only koto players) and the Aono Jikken Ensemble.
	www.nwasianweekly.com /editorial/ozu.24.05.htm (473 words)

	The Asian Reporter - Special A.C.E Section
		Ozu was highly prolific and is known to have made more than 50 films between 1927 and 1962, 36 of which still exist, yet even among dedicated cinephiles in the West he is often overlooked.
		Even the titles of his films from this era were related, such as Late Spring (1950), Early Summer (1951), Early Spring (1956), Late Autumn (1960), Early Autumn (End of Summer) (1961), and An Autumn Afternoon (1962), all using seasons as metaphors for the varying stages of adult life.
		The silent films are particularly difficult to screen because of the cost of finding live accompaniment, compounded by the lack of original scores.
	www.asianreporter.com /arts/05-05filmfest.htm (473 words)

	FIPRESCI - Festival Reports - Vienna 2003
		Probably the most outstanding retrospective among the commendable tributes of this year’s Vienna Film Festival was the 35-film program at the Vienna Filmmuseum dedicated to “Independent Japanese Cinema 1962-84”, or more precisely: to those films produced (or in some cases: just distributed) by the “Art Theatre Guild” (ATG).
		One can only hope that the opportunity to discover this important and influential part of Japanese filmmaking can be provided elsewhere, too – although legal problems concerning the rights of many of these films might make this a difficult (and thus, even more admirable) task.
		This was a welcome opportunity for the young turks of the so-called “Japanese New Wave”, who were dissatisfied with the artistic constraints of the rigid studio system dominating Japanese production.
	www.fipresci.org /festivals/archive/2003/vienna_2003/vienna2003_chuber.htm (473 words)

	Shintaro Katsu
		Zatoichi was the central character in a series of films that ran from 1962-1973, with a series of 25 films, concluding with a 26th feature in 1989.
		It was 1962 where Shintaro first became the legendary Zatoichi, a cult icon in Japan as well as the rest of the world.
		After the last Zatiochi film of the 1970's, Shintaro played another heroic samurai nicknamed "The Razor" in a trilogy of films.
	www.megspace.com /entertainment/highimpact/stars/male/shintarokatsu.html (473 words)

	Movie Open - Movie News
		When discussing the politically incorrect (to put it mildly) Japanese films that fall in the category of Pinku eiga (adult pink films), it's helpful to refer to Thomas Weisser and Yuko Weisser's Japanese Cinema Encyclopedia: The Sex Films.
		They explain how "the term Pinku eiga goes back to a review in 1962 where it was said to describe the large amount of exposed female skin in the film Flesh Market.
		Millie Perkins stars in the acclaimed film version of the Broadway play; extras include commentary by George Stevens Jr., screen test footage and more.
	www.movieopen.com /en/MovieNews/Index/0,,59621,00.html (617 words)

	Katsu Shintaro -- Encyclopædia Britannica
		Katsu was perhaps the most popular star in Japanese screen history, starring in 25 Zatoichi films from 1962 to 1973.
		Japanese actor whose portrayal of Zatoichi, a blind master swordsman, in a series of motion pictures and on television brought him fame and influenced similar films in Hong Kong and Taiwan.
		On March 10, 1999, controversial Japanese author and politician Shintaro Ishihara announced that he would join the already crowded race for governor of Tokyo.
	www.britannica.com /eb/article?tocId=9384187 (617 words)

	:: Far East Film - IV edition - 19th/27th April ::
		Because of their erotic nature the films were rated as adult films ( seijin eiga) by the Motion Picture Code of Ethics Committee ( Eirin), the self-censorship organ of the Japanese film industry.
		Shintoho also distributes the films of Kokuei, the oldest pink eiga production company.
		Though Kokuei is unique in its support of young talent, other companies also began to make use of the talents of younger filmmakers.
	194.21.179.166 /cecudine/fe_2002/eng/PinkEiga2002.htm (617 words)

	Film series honors a Japanese master
		His films are a veritable 35-year survey of Japanese society, from the late 1920s to the early 1960s.
		From his first silent film in the early 1920s to his final film, "An Autumn Afternoon," in 1962, he set his quietly understated family dramas and modest comedies in the homes and workplaces of everyday citizens trying to make a life for themselves and their children.
		This collection of films, originally organized to celebrate the 2003 centenary of Ozu's birth, is full of discoveries, especially among his rarely seen silent films.
	seattlepi.nwsource.com /movies/210406_ozu03.html (928 words)

	S H I N O B I N O M O N O
		Shinobi no Mono is a series of eight jidaigeki (Japanese historical dramas - see The Films for plot summaries) which were released in Japan over a four year period from 1962 to 1966 by Daiei Pictures.
		The plot of the first few films focuses on a ninja named Ishikawa Goemon and his struggle to survive during Japan's warring states period.
		The films star Ichikawa Raizo (of Nemuri Kyoshiro / Sleepy Eyes of Death fame) who plays Ishikawa Goemon as well as several other characters throughout the series.
	shinobinomono.oninohana.com (928 words)

	Masaki Kobayashi
		His most famous films are his three period films he made in the 60s: his excellent beyond compare Seppuku (Harikari) (1962), his also quite excellent masterpiece of the supernatural Kaidan (Kwaidan) (1964), and his harrowing samurai actioner Joi-uchi (Samurai Rebellion).
		His films were all gorgously filmed and inpeccably framed in Cinemascope and have a beautiful aura about them.
		A very influencial Japanese film maker who is nearly as famous in Japan as Kurosawa.
	members.aol.com /youkai68/people/kobayashi.html (928 words)

	Midnight Eye review: The Crimson Bat - Blind Swordswoman (1969)
		The success of Daiei Studio's Zatoichi series - which resulted in 25 films made between the years 1962-'73, starring Shintaro Katsu as the charismatic blind swordsman - no doubt inspired Shochiku Studios to subvert the concept through a swift gender twist, and hey presto, Blind Oichi was conceived.
		Yoko Matsuyama, already well known to the Japanese public in the 60s due to her leading TV role in Seven Faces of Princess Koto (Kotohime Shichi Henge), here takes to the big screen as the eponymous sightless swordswoman - a character developed in a successful manga comic by her husband Teruo Tanashita.
		Deserted by her mother when blinded in a storm as a child, she is on a perennial quest to find the killers of her father.
	www.midnighteye.com /reviews/crimsbat.shtml (928 words)

	Shinobi No Mono/Rikugun Nakano Gakko
		Shinobi no Mono is a series of eight Japanese historical dramas which were released in Japan over a four year period from 1962 to 1966 by Daiei Pictures.
		This CD is made up of the "Shinobi no Mono" series of films and the movie "Rikugun Nakano Gakko".
		The plot of the films focuses on a ninja named Ishikawa Goemon and his struggle to survive during Japan's warring states period.
	www.godzillamonstermusic.com /KICA3033.htm (928 words)

	Setsuko Hara - Wikipedia, the free encyclopedia
		Hara Setsuko (jp:原節子; born Aida Masae on June 17, 1920 in Yokohama, Kanagawa prefecture) is a famous Japanese actress who appeared in many of Ozu Yasujiro's films.
		After she suddenly quit acting in 1962, Hara has led a secluded life in Kamakura, refusing all interviews and refusing to be photographed (making Japanese-cinema scholar Donald Richie refer to Hara as the "Greta Garbo of Japan").
		She is called "the Eternal Virgin" in Japan and was a symbol of Japanese film's golden era of the 1950s.
	en.wikipedia.org /wiki/Hara_Setsuko (174 words)

	Shinobi no mono
		Shinobi No Mono is the first of a series of eight Japanese historical dramas which were released in Japan over a four year period from 1962 to 1966 by Daiei Pictures.
		The plot of the films focuses on a ninja named Ishikawa Goemon and his struggle to survive during Japan's warring states period.
		The films star Ichikawa Raizo (of Nemuri Kyoshiro / Sleepy Eyes of Death fame) who plays Ishikawa Goemon as well as several other characters throughout the series.
	www.asian-movies.dk /shop/productinfo-nocookie.asp?id=1966 (118 words)

	Fantasy Encyclopedia Updates, I to L
		Thus, there is even a direct family linkage between the US films and the Japanese films.
		Under the CJE banner he has served as consultant and goodwill representative for Warner Bros. from 1962 to present.
		As chairman of Chuck Jones Productions, a division of Chuck Jones Enterprises, CJ has also developed new theatrical properties including Chariots of Fur (1994), Superior Duck (1996), Pullet Surprise (1997), Father of the Bird (1997) and two unreleased shorts, «Another Froggy Evening» and «From Hare To Eternity», plus the animated sequences for the live-action movies
	www.dcs.gla.ac.uk /SF-Archives/Misc/fec_i2l.html (4144 words)

	Ryan's Website/ Kung-Fu (Bruce Lee, Jackie Chan, and Jet Li biographies)
		He appeared in his first film, the Cantonese feature Big and Little Wong Tin Bar (1962), when he was only eight, and went on to appear in a number of musical films.
		Wong and Tsui Hark are quite the opposites in the HK film world; Tsui's films are known for being lavish, big-budget affairs with deep storylines, while Wong's (while equally popular with local audiences) are known for being cheap and full of sex, violence and crude humor.
		A big Japanese guy was showing off his strength as well by holding a tug of war display, people were trying to pull him out of a circle...4 people against him.
	www.geocities.com /mister_jack_dawson/kungfu.html (4144 words)

	Tucson Weekly : Cinema : ViewFilmReview
		Shintaro Katsu, the original blind swordsman, died in 1997, but Takeshi "Beat" Kitano resurrects the Japanese cult character that appeared in 26 films and countless TV shows from 1962 to 1989.
		In the traditional Japanese style of blood splattering with cartoon-like exaggeration to a soundtrack reminiscent of the silent- movie era, Zatoichi battles the town’s controlling gang with the help of two geishas who are seeking revenge.
		The labyrinthine plot and nonlinear storytelling is confusing, and the exciting action scenes and comic relief are few and far between.
	www.tucsonweekly.com /gbase/Cinema/ViewFilmReview?oid=oid:59613 (145 words)

	Tokyo Olympiad
		Ichikawa is perhaps best known for his antiwar films, including The Burmese Harp (1956) and Fires on the Plain (1959), as well as for his somewhat quirky films based on famous Japanese literary works, such as Odd Obsession (1959), The Broken Commandment (1962), I Am a Cat (1975), and The Makioka Sisters (1983).
		Stunned by Ichikawa's unconventional documentary of what was perhaps Japan's proudest moment in the 20th century, the Board asked Ichikawa if he couldn't redo the film more to their liking.
		But Ichikawa had shown considerable adaptability, so perhaps the committee felt he could do the job after Kurosawa's budget demands proved to be too much even for the lavish Olympic effort planned to celebrate Japan's (re)emergence into the community of nations.
	academic.evergreen.edu /curricular/japan/Olympiad.htm (454 words)

	FILM QUARTERLY - Uncanny Visions of History: Two Experimental Documentaries from Transnational Spain--Asaltar los cielos and Tren de Sombras by Marsha Kinder
		One reason for the fit is that in Kumashiro's porn and non-porn films alike, he focused on sex and the sexuality of women as a crucial element of human life.
		Their porn would, however, be of higher quality than pink films: it would have much bigger budgets (though still small by mainstream standards), experienced crews (including not only Kumashiro but also his frequent cinematographer Shinsaku Himeda, who worked regularly with Imamura), ten-day shooting schedules, running times of 70 to 80 minutes, and widescreen color.
		Barbara Rubin's lyrical Christmas on Earth (1962), for example, not only provides its own scenes of frontal nudity and sexual interplay but also borrows a hard-core cum shot.
	www.filmquarterly.org /issue_5701_right.html (454 words)

	Irish Film Insitute»»Film Listings
		A prolific artist and the founder of Tezuka Productions, Osamu Tezuka produced a wide range of comics for both adults and children, and began making animated versions of his stories for television and films in 1962.
		These films are all animated versions of works by the renowned Japanese comic-strip author Osamu Tezuka (1926~89) and have attracted a great deal of attention for their groundbreaking animation techniques.
		While still studying economics at Tokyo Metropolitan University in 1980, he started his career in the animated film industry at Tezuka Productions Co. Ltd.
	www.irishfilm.ie /cinema/dispfilm.asp?filmID=3973&Date=11/1/2003&PageID=15 (454 words)

	A Postwar View of the Greater East Asia War
		The growing willingness of the Japanese to reassess their nation's role in the "Greater East Asia War" received worldwide attention during the so-called "textbook controversy" of 1962, when new Japanese high school history textbooks were introduced that portrayed Japan's wartime role in a more positive light.
		Yet as Japan's official statements on war objectives make clear, the goal was to free East Asia from British and American domination and establish the area's self-defense and independence.
		Fusao Hayashi's Dai Toa senso kotei ron (In Affirmation of the Great East Asia War) is an example of a review fulfilling this modest requirement.
	www.ihr.org /jhr/v06/v06p451_Hasegawa.html (454 words)

	DVD Verdict: Masaki Kobayashi (1916-1996)
		Much of Kobayashi's work seems to be about uncovering the truth: his Samurai-era films Hara-kiri (1962) and Rebellion (1967) expose the hypocrisy of the "warrior code" in feudal Japan.
		Although Kobayashi is not as well known abroad as some other Japanese directors, his critical reputation is based on his uncompromising scrutiny of personal responsibility and his desire to expose the uncomfortable truths about social corruption.
		Subtle performances by his actors (a far cry from the stylized acting most American audiences are used to from Japanese cinema) give a sense of psychological reality to the characters.
	www.dvdverdict.com /columns/deepfocus/kobayashi.php (1653 words)

	MTV.com - Movies - Masaki Kobayashi
		Just as many of Kurosawa's films were defined by the macho-presence of Toshio Mifune, so were Kobayashi's films brought to life by the masterful performances of Nakadai in such Kobayashi classics as Harakiri (1962), Kwaidan (1964), and Rebellion (1967).
		Masaki Kobayashi is considered one of the great cinematic masters of the Japanese immediate post-war era, a generation overshadowed by the towering presence of Akira Kurosawa.
		Kobayashi switched back and forth between the Kinoshita style of domestic dramas and the darker socially minded works until he garnered international acclaim and a prestigious San Giorgio prize at the Venice Film Festival in 1960 for his Human Condition I: No Greater Love (1958), the first installment of sweeping trilogy about the war.
	www.mtv.com /movies/person/86355/bio.jhtml (702 words)

	Harakiri Page
		Just as many of Kurosawa's films were defined by the macho-presence of Toshio Mifune, so were Kobayashi's films brought to life by the masterful performances of Nakadai in such Kobayashi classics as Harakiri (1962), Kwaidan (1964), and Rebellion (1967).
		Masaki Kobayashi is considered one of the great cinematic masters of the Japanese immediate post-war era, a generation overshadowed by the towering presence of Akira Kurosawa.
		Kobayashi switched back and forth between the Kinoshita style of domestic dramas and the darker socially minded works until he garnered international acclaim and a prestigious San Giorgio prize at the Venice Film Festival in 1960 for his Human Condition I: No Greater Love (1958), the first installment of sweeping trilogy about the war.
	www.willamette.edu /~rloftus/jfilm/seppuku.html (702 words)

	Harakiri Page
		Just as many of Kurosawa's films were defined by the macho-presence of Toshio Mifune, so were Kobayashi's films brought to life by the masterful performances of Nakadai in such Kobayashi classics as Harakiri (1962), Kwaidan (1964), and Rebellion (1967).
		As Audie Bock notes in Japanese Film Directors, "Harakiri is a film that abounds in symbols, some of them visusal and some verbal.
		In his masterful Harakiri, he deftly juxtaposed the stark black of the aristocracy's kimonos with the brilliant white of the courtyard's sand, lending the film's tonal scheme a symbolic quality.
	www.willamette.edu /~rloftus/jfilm/seppuku.html (863 words)

	S H I N O B I N O M O N O
		Shinobi no Mono is a series of eight jidaigeki (Japanese historical dramas - see The Films for plot summaries) which were released in Japan over a four year period from 1962 to 1966 by Daiei Pictures.
		The plot of the first few films focuses on a ninja named Ishikawa Goemon and his struggle to survive during Japan's warring states period.
	shinobinomono.oninohana.com (266 words)

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In the News (Wed 23 Dec 09)