By Donald Richie
Completely revised and up to date, the newest version of this authoritative quantity by way of Donald Richie, the major Western professional on jap movie, offers us an incisive, particular, and completely illustrated heritage of the country's cinema.
Called "the dean of Japan's arts critics" through Time journal, Richie takes us from the inception of eastern cinema on the finish of the 19th century, during the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the awesome works of latest filmmakers. This revised variation comprises analyses of the newest tendencies 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 construction (something filmmakers be aware of rather well yet historians frequently put out of your mind) . . . and exhibits the interweave of filmmaking—the contributions of administrators, writers, cinematographers, actors, musicians, artwork administrators, in addition to financiers."
Of basic curiosity to those that wish to watch the works brought in those pages, Richie has supplied tablet studies of the most important subtitled eastern motion pictures commercially on hand in DVD and VHS codecs. This consultant has been up-to-date to incorporate not just the simplest new motion picture releases, but in addition vintage movies to be had in those codecs for the 1st time.
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Extra resources for A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos
Both of these entrepreneurs had started their careers as peanut vendors (nowadays it would be the popcorn franchise). 37 Slrochiku, akeady an entertainment entity, had its owr kabuki and shimpa troupes, but both Inelt were eager to enter the film industry. Shirai had returned from a successful overseas fact-finding trip, and Otani, who had stayed in Japan,watched httolerattce playing to packed houses at ticket prices higher than those of the bestJapaltese dranta. ffio men saw that the old-style Japanese rlovie was probably on its way out and that sontething new was perhaps coming in.
Onoe has said that during this period of early filmrnaking, neither actors nor directors used a script. Instead, Makino carried the plot in his head and ca\Ied out the lines for the actors while they were 0n camera, just like the joruri chanter in bunraku. Onoe also recalled what hard work it was. He was required to make nine 0r more features a month, which meant that he was working on three separate features at any one time. Sometimes, he said, he was so exhausted thathe mixed up his parts. And, indeed, overworked, he died on the set.
Similarly, in Souls on the Road the flashbacks explain nothing at all, nor are they irrterrded to. In general, the editing in the film insists Llpon an aestheticization of tirne and space. Each of the several stories stops after we find a certarn portion is viewed. When we return to it it just where it was when last we saw it. There is no elapsed time in this universe, just as tlrere is none in traditionalJapanese dranaturgy. The editing is unusual as well. Those who complained they could not follow the single simple flashback in The Cuckoo would have been truly confused by Sotils on the RoarJ.
A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos by Donald Richie