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	Midnight Eye feature: A Page of Madness (1927)
		Kinugasa was born in 1896 and died in 1982.
		Kinugasa entered the cinema as an onnagata, signing up with Nikkatsu in 1917 and playing about 130 films (all of them lost) until 1922, when he left Nikkatsu in protest with all their onnagata actors when the production firm started employing actresses.
		Kinugasa says that the positive print, from which the dupe-negative was made and all known prints were produced from, was shrunk but otherwise in perfect condition.
	www.midnighteye.com /features/silentfilm_pt1.shtml (5453 words)

	Midnight Eye review: Gate of Hell (1953)
		Kinugasa returned to Japan where, in keeping with the rising nationalistic tide of the pre-War period, his work became less experimental and less obviously influenced by outside sources, as he involved himself with the more commercially safe traditional jidai-geki period dramas.
		A long-standing associate of Kinugasa's, the former onnagata actor worked with the director for most of their working lives, though is most famous for his role in Kon Ichikawa's An Actor's Revenge, itself the remake of an earlier Kinugasa film.
		Kinugasa himself was fully aware of his picture's dramatic weaknesses, and blamed intervention from his producer, an under-developed script and a rushed working schedule due to a release date fixed in advance.
	www.midnighteye.com /reviews/gatehell.shtml (838 words)

	MTV.com - Movies - Teinosuke Kinugasa
		Yet Kinugasa's Page of Madness (1926) is widely credited as the first mature Japanese avant-garde film and one of the finest examples of international experimental cinema.
		Jujiro (1928), Kinugasa's next film of note, was the first Japanese film to have a wide European release, under the title Shadows of Yoshiwara.
		Teinosuke Kinugasa directed over 100 films before his retirement, in the early '60s.
	www.mtv.com /movies/person/86133/bio.jhtml (562 words)

	A Page of Madness (1926)
		Kinugasa is an interesting figure — before becoming a director, he was one of the last onnagata performers (men who traditionally played women’s parts on stage and would often dress as women in their everyday lives) before the tradition began to be phased out and women actors employed.
		It is a frenetic barrage of editing and shifting points-of-view, where Kinugasa flips and changes points-of-view between the objective and interior spaces of the mad, between the present and flashback with a feverish regularity.
		Kinugasa claims that his influence of style was Sergei Eisenstein, who patented the montage edit, while many of the lens distortion effects are unquestionably borrowed from Abel Gance.
	www.moria.co.nz /fantasy/pageofmadness.htm (715 words)

	[No title]
		Teinosuke Kinugasa's mind-boggling silent masterpiece of 1926 was thought to have been lost for 40 years until the director discovered a print in his garden shed.
		A seaman hires on as a janitor at an insane asylum to free his wife, who's become an inmate after attempting to kill herself and her baby.
		The film's expressionist style is all the more surprising because Japan had no such tradition to speak of; Kinugasa hadn't even seen The Cabinet of Dr. Caligari when he made this.
	onfilm.chireader.com /movies/capsules/06853_PAGE_OF_MADNESS.html (130 words)

	Turner Classic Movies This Month Article (Site not responding. Last check: 2007-10-20)
		As the warrior's behavior grows all the more irrational, Kesa is backed into a desperate ploy to spare her loved ones from Moritoh's growing wrath.
		Kinugasa, a former actor who specialized in assaying oyama (female) roles and who had made his early reputation during the silent era with German Expressionism-influenced works, had migrated to a more mainstream narrative approach over the ensuing years.
		The vibrancy of Kinugasa's palate and the intensity of his battle sequences struck a chord with viewers of the day; the jury at Cannes responded by awarding the film the Grand Prix.
	www.turnerclassicmovies.com /ThisMonth/Article/0,,87902\|87903\|59948,00.html (647 words)

	sfbg.com
		If those fingers belong to Kinugasa, page-turning is the least of their skills.
		Kinugasa's eyes and hands are at the center of this storm.
		Most accounts state that Kinugasa discovered a print in his garden shed in 1971 (one account claims he found it in a barley bale!).
	www.sfbg.com /36/29/art_festival_madess.html (869 words)

	Compare Prices and Read Reviews on Gate of Hell at Epinions.com (Site not responding. Last check: 2007-10-20)
		Teinosuke Kinugasa’s Jigokumon (Gate of Hell) is just a good plot away from being a great film.
		Japanese film critics, probably thinking mostly about the plot deficiencies, took little notice of this film when it was released and most didn’t even place it in their top-tens for the year.
		Hasagawa and Kinugasa initially worked with Shochiku Studios and when they suddenly left together over a contract dispute, the studio actually hired a thug to attack Hasagawa with a razor blade, leaving a deep scar on his right cheek that is visible in some scenes in Gate of Hell.
	www.epinions.com /content_141626674820 (1633 words)

	Ponderance: A Page of Madness & A Marvel of Silent Cinematics
		As part of the Revelation: Perth International Film Festival, A Page of Madness was presented in combination with a live score by the British duo In the Nursery, whose mix of electronica and orchestral was a great compliment to the film's haunting tone.
		Kinugasa's film, which was made in Japan in 1926, is so ahead of it's time that it should be seen alongside Battleship Potemkin as one of the two great 1920s hallmarks of future cinema.
		Kinugasa manages to evoke the living and embodied experiences of "madness" through the use montage, visual distortions and other stylised elements.
	ponderance.blogspot.com /2004/07/page-of-madness-marvel-of-silent.html (478 words)

	The Seattle Times: Movies: Ensemble gives classic Asian silent films a musical context
		"Page of Madness," 1926, Teinosuke Kinugasa's tale of a retired sailor and his institutionalized wife, is one of three Japanese silent films being presented by the Aono Jikken Ensemble.
		Next up is a program made up of two 1929 shorts and a 1926 feature: Teinosuke Kinugasa's experimental tale of a retired sailor and his institutionalized wife, "A Page of Madness." The triple bill will play at 7:30 p.m.
		"Kinugasa and his co-writer, Yasunari Kawabata, were part of the Shin-kankaku-shugi (New Sensationalism) movement," said Blauvelt.
	seattletimes.nwsource.com /html/movies/2002056864_fun08.html (516 words)

	Crossways (Jujiro) Film Review - Time Out Film
		Kinugasa's second film with his experimental theatre company, made two years after the better-known Page of Madness.
		But its imagery, lighting and montage effects are at least as daring as those in the earlier film, and fully the equal of anything done in the West at the time.
		Kinugasa's fidelity to physical realities (like breath misting in the freezing air and steam rising from sodden clothing) is often chilling, but his vision of the Yoshiwara pleasure district as a 'hell' of lights, shadows and frenetic movement also brings out his remarkable gifts as an expressionist.
	www.timeout.com /film/69893.html (185 words)

	BL!NDMAN \ Kurutta Ippeiji (live accompaniment) (Site not responding. Last check: 2007-10-20)
		It is instead highly experimental, and in view of the artistic environment that produced it, the anarchic avant-garde of 1920‘s Japan, it could hardly be otherwise.
		Rather than a systematic critique, this experimental style is Kinugasa‘s war of utter rebellion against film language - a war that he began with the help of the literary avant-garde‘.
		Inspired by Japanese Noh-theatre and Kabuki, essential silences are respected and the typical percussive sounds of Japanese drums and shakuhachi-flutes are integrated by a non-conventional way of playing the four saxophones.
	www.blindman.be /html/dossiers/KIP-dossier-eng.html (434 words)

	Midnight Eye feature: Forgotten Fragments: An Introduction to Japanese Silent Cinema
		Outside of Japan however, aside from sporadic festival screenings of Kinugasa's A Page of Madness (a pretty atypical work from the period), Japanese silent film remains virtually an unknown entity.
		Director Teinosuke Kinugasa made that and Crossroads ("Jujiro," 1928), films that are both very avant garde.
		He had taken a lot of influence from avant garde film and foreign art, and various literary figures were involved with the film's production, so it was made influenced by a lot of the most progressive art of the time.
	www.midnighteye.com /features/silentfilm_pt2.shtml (4895 words)

	Superchunk Turns 'A Page Of Madness' / The indie-rock vets go cinematic with a score for the SF Film Festival
		Then watch the frenetic opening scenes of Teinosuke Kinugasa's 1926 avant-garde silent film "A Page of Madness," and you can almost imagine the programming possibilities that went through the minds of the curators at the San Francisco International Film Festival.
		Director and co-writer Kinugasa, who was born in 1896 and began his dramatic career in Kabuki as an onnagata (a male actor who performs female roles), made more popular films, such as "Gate of Hell," before he died in 1982.
		Nonetheless, "A Page of Madness" stands out as one of the rare surviving Japanese silents, thanks to the fact that Kinugasa hid a print in a rice barrel during World War II and forgot about it until he found it in the early '70s.
	www.sfgate.com /cgi-bin/article.cgi?file=/g/archive/2002/04/23/super.DTL&type=printable (1491 words)

	Domain of Culture - Cultural Events (Site not responding. Last check: 2007-10-20)
		"Jigoku-Mon" by Teinosuke Kinugasa at Athens' Apollon Filmcenter
		This Sunday, January 16, the fourth film of the cycle entitled "Why should we read the classics?" is screened: "Gate of Hell" by Teinosuke Kinugasa, which is based on the homonymous play by Kan Kikuchi.
		In an attempted coup, one of the Imperial court's ladies disguises herself as the Empress and a loyal samurai conveys her from the city.
	www.cultureguide.gr /events/details.jsp?Event_id=58156&catA=3 (261 words)

	Amazon.ca: Video: Gate of Hell (Site not responding. Last check: 2007-10-20)
		Kinugasa's sublime control of color intensifies every emotion in his Academy Award®-winning masterpiece, a classic 12th-century tale about a warrior whose love dishonors a married woman.
		The screen is steeped in fiery reds for chaotic battle scenes, then blanketed in soothing images of white-kimonoed priests beside a calm blue sea.
		In 1953, Teinosuke Kinugasa (1896-1982) directed and co-adapted the historical play entitled "Jigokumon" (English transliteration of the Japanese title), which was written by Kan Kikuchi (1888-1948).
	www.amazon.ca /exec/obidos/ASIN/6303073093 (728 words)

	A Page of Madness (Kurutta Ippeiji) Film Review - Time Out Film
		An old sailor works as a janitor in an asylum to stay close to his insane wife and to help her to escape, except that she doesn't want to go...
		Kinugasa deploys a battery of expressionist distortions and otherwise stylised images to plunge his audience into 'irrational' experience, always withdrawing to a 'saner' perspective, and then undercutting that with another visual or dramatic shock.
		This version has music added by Kinugasa when he rediscovered the print in 1970.
	www.timeout.com /film/70684.html (168 words)

	The Criterion Collection: Tokyo Story
		Akira Kurosawa had made his breakthrough with Rashomon three years earlier, and Kenji Mizoguchi was moving to the forefront of the international festival scene.
		In 1955 Teinosuke Kinugasa’s Gate of Hell would win two Academy Awards.
		The time would have been ripe for a very different sort of Japanese film to arrive on the global stage.
	www.criterionco.com /asp/release.asp?id=217&eid=328§ion=essay&page=1 (299 words)

	An Actor's Revenge
		Wada found the original scenario so bad it was good, and kept almost everything… The resulting film is a tour de force of great virtuosity in which the director scrambled stage and screen, tried every color experiment he could think of, and created one of the most visually entertaining films of the decade.
		Originally adapted into a three-part serial film by Teinosuke Kinugasa in 1935-36 (who himself had a career as a kabuki onnagata – a stage actor of female roles – before becoming a director) and featuring the original lead from the Kinugasa adaptation, veteran actor Kazuo Hasegawa for a performance that would mark his 300
		The tale of the beautiful young Namiji's curious infatuation with the aging female impersonator seemingly founders towards absurdist, melodramatic camp, even as the film cursorily broaches infrequently treaded, uncomfortable psychological realms of gender identification and sexual ambiguity that are typically associated with more somber art cinema.
	www.sensesofcinema.com /contents/cteq/03/25/actors_revenge.html (729 words)

	1954 Oscar Winners
		The story concerns a 12th-century warrior (played by Hasegawa Kazuo), distinguished in battle, who exercises his right to take the wife of another man. Rather than betray her marriage, the woman (played by Kyo Machiko) commits suicide, and, in memory of his wife, the husband spares the life of the repentant warrior.
		The deft hand of director Kinugasa brings passion to both the elaborate battle scenes and the subtle love story.
		Gate of Hell* (Jigokumon) from Japan, directed by Kinugasa Teinosuke, screenplay by Kinugasa Teinosuke based on the play Kesa's Husband by Kikuchi Kan.
	www.britannica.com /oscars/y_1954.htm (1492 words)

	Teinosuke Kinugasa (Site not responding. Last check: 2007-10-20)
		Former female impersonator who entered films in 1917 as an actor, turned to directing in 1922 and made some of the most formally brilliant Japanese films of the following decades.
		The few of Kinugasa's early works to have reached the west betray a highly mature, sophisticated talent.
		His best-known silent films are the striking and powerful "A Page of Madness/A Crazy Page" (1926), an old print of which was found by Kinugasa in his attic and re-released in the 1970s, and "Crossways" (1928).
	www.hollywood.com /celebs/detail/celeb/193963 (194 words)

	Kinugasa Teinosuke -- Encyclopædia Britannica
		He also pioneered in the use of flashbacks and in the creation of visual atmospheric effect.
		From 1917 to 1922 Kinugasa was an oyama, a male actor who played female roles.
		"Kinugasa Teinosuke." Encyclopædia Britannica from Encyclopædia Britannica Premium Service.
	www.britannica.com /eb/article-9045584 (75 words)

	Rashomon
		Made in 1926 by Teinosuke Kinugasa it involves a janitor who works in an insane asylum where his wife is a patient.
		Using about every camera angle, movement and trick that was available in the 20's Kinugasa creates a visually rich and mezmerizing film.
		The editing is similar to Soviet montage-style and the shot selection has the look of German Expressionism.
	rashomon.blogspot.com /2005/01/rare-film.html (231 words)

	Dworkin Eliason Partners / Green Room / Nexus (Site not responding. Last check: 2007-10-20)
		This pioneering Japanese silent film is accompanied by a live music performance on a special selection of percussion instruments collected by the ensemble from around the world.
		It is an interesting addition to a festival of Japanese works of art or as a complement to the performance of their signature work, Toru Takemitsu's "From me flows what you call time" for symphony orchestra and percussion ensemble.
		By the mid-1920s, Kinugasa was already familiar with the art of film, and he was likely to have been influenced by films such as the German Expressionist " The Cabinet of Dr. Caligari" (1919).
	www.dworkineliason.com /html/nexus/nexus_silent_film.html (261 words)

	Teinosuke Kinugasa (Site not responding. Last check: 2007-10-20)
		Teinosuke Kinugasa, Shunkin Sho, Uso, Yoso, An Actor's Revenge, Midaregami, Uta Andon, Joen, Kagero ezu, Shirasagi, Haru koro no Hana no en, Osaka no Onna,...
		Teinosuke Kinugasa - movies, photos, video, biography, interviews, awards, news, filmography, credits.
		During the 1920s, Teinosuke Kinugasa's startlingly modern experimental movies infused Japanese film with a sophistication that rivalled the best European...
	www.1uad.com /directors/7/Teinosuke-Kinugasa.html (189 words)

	USCCB Reviews - Gate of Hell (Site not responding. Last check: 2007-10-20)
		Gate of Hell -- Tale set in 12th-century feudal Japan where a samurai helps saves his clan from rebels, then requests as his reward to wed a woman who had encouraged him during the battle, but after being informed she is already married, he persists with tragic results.
		Directed by Teinosuke Kinugasa, the color photography is strikingly beautiful, though its florid story of romantic obsession seems slow-paced for Western tastes.
		The following are the classifications used by the Office for Film & Broadcasting in rating each film.
	www.nccbuscc.org /movies/g/gateofhell1953.htm (224 words)

	Teinosuke Kinugasa, Japans actor and director, Jujiro, Jigoku-mon January 1 in History
		Teinosuke Kinugasa, Japans actor and director, Jujiro, Jigoku-mon January 1 in History
		Teinosuke Kinugasa, Japans actor and director, Jujiro, Jigoku-mon
		It is only because of problems that we grow mentally and spiritually.
	www.brainyhistory.com /events/1896/january_1_1896_65550.html (45 words)

	[No title]
		The film was lost until the early 1970s when the filmmaker, Teinosuke Kinugasa, found a print he had hidden in a rice barrel during WWII.
		A PAGE OF MADNESS incorporates many film techniques available at the time, into a dizzying blend of tilted camera angles, fast and slow motion and superimpositions with expressionistic sensibility. Striking and powerful, A PAGE OF MADNESS, is a chilling interpretation of insanity and reality.
		The coupling of Kinugasa’s innovative and highly experimental vision with SUPERCHUNK’s pioneering sound is a must-see event.
	www.sfiff.org /press/superchunk_02.html (524 words)

	Donald Richie Lucia Rocha
		The recurring image of the young man’s body washed by the sea forms the basis for this reflective, universal elegy.
		Lost until 1971, Teinosuke Kinugasa’s 1926 avant-garde masterpiece A Page Out of Order provides a fascinating, if unique, glimpse of Japanese silent film.
		Using no intertitles to relay his disturbing tale, Kinugasa relies soley on visual invention—“expressionistic” camera angles, unearthly lighting enhanced by sets that were painted silver, penetrating close-ups, and superimpostions.
	www.harvardfilmarchive.org /calendars/01sepoct/closeencounters.html (526 words)

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