By Donald Richie
Completely revised and up-to-date, the most recent version of this authoritative quantity by means of Donald Richie, the major Western specialist on jap movie, provides us an incisive, unique, and completely illustrated historical past of the country's cinema.
Called "the dean of Japan's arts critics" through Time journal, Richie takes us from the inception of jap cinema on the finish of the 19th century, during the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the amazing works of latest filmmakers. This revised version contains analyses of the most recent developments in eastern cinema, corresponding to the revival of the horror style, and introduces today's up-and-coming administrators and their works.
As Paul schrader writes in his perceptive foreword, Richie's accounting of the japanese movie "retains his sensitivity to the particular conditions of movie creation (something filmmakers understand rather well yet historians usually disregard) . . . and exhibits the interweave of filmmaking—the contributions of administrators, writers, cinematographers, actors, musicians, paintings administrators, in addition to financiers."
Of fundamental curiosity to those that want to watch the works brought in those pages, Richie has supplied tablet experiences of the key subtitled eastern motion pictures commercially to be had in DVD and VHS codecs. This advisor has been up-to-date to incorporate not just the easiest new motion picture releases, but in addition vintage movies on hand in those codecs for the 1st time.
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Extra info for A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos
Koutairo (for the hero, Kanichi): Tlren you're all set to marry him! What a fickle flirt you are! IVaruator (the benshi voice): Kanichi, overcome with :'age, kicls the fragile 0miya The rnany-voiced benshi also developed avocabulary of styles. The historical film was tlrouglrt to demand an inflated, somewhat nual delivery; fihns about nodern life were more colloquial, and the tone for foreign films was sententious and didactic. When the vocal demands were too great, benshi often shared films, just as bunraku sometimes switches gidayu narrators in mid-play.
Hart inTlte Tiger Mnn (1918). Remembering how impressed a child, Kurosawa wrote: "What remains he was as in my heart is that reliable manly spirit and the smell of male sweat,"'a qualities which he was later to reproduce in his own work. Foreign film was popular not only with the audiences but also with those in the industry itself. The 1919 showing of D. W. Griffith's 28 Intoluance (1916) was asensation, and many of tlrose who Iater became directors, scripfwriters, 0r cameramen remember attending and being impressed by this and other foreign-film showings-impressed, often to the point of imitation.
Thus, even routine Japanese program-pictnres of the twenties and thirties contained shots 0r sequences which the West associated with only the rnost advanced art films. Usually, however, such techniques were used solely for effect and played a negligible part in the structure of the picture. The combination of traditional (East) and modern (West) forrned the patterns tlrat gave the prewarJapanese film both its traditional base and its nodernistpatina. That such a n-EIartge of influences as those creating Sotils on the Road should have produced a film still enjoyable after eighty years indicates something about the Japanese aes- thetic and its universalify.
A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos by Donald Richie