Masayuki Mori (Actor) Ç”Μå½± Ä¸²È¡Œ (Å¤§Å…¨)

Total Page：16

File Type：pdf, Size：1020Kb

Masayuki Mori (Actor) Ç”Μå½± Ä¸²È¡Œ (Å¤§Å…¨)

Masayuki Mori (actor) ç”µå½± ä¸²è¡Œ (å¤§å…¨) https://zh.listvote.com/lists/film/movies/59835167/actors Love Letter https://zh.listvote.com/lists/film/movies/love-letter-6690927/actors A Ball at the Anjo https://zh.listvote.com/lists/film/movies/a-ball-at-the-anjo-house-11450475/actors House Her Brother https://zh.listvote.com/lists/film/movies/her-brother-3794027/actors Bright Sea https://zh.listvote.com/lists/film/movies/bright-sea-63101546/actors Alone Across the https://zh.listvote.com/lists/film/movies/alone-across-the-pacific-4734391/actors Pacific Night Drum https://zh.listvote.com/lists/film/movies/night-drum-55662967/actors Untamed https://zh.listvote.com/lists/film/movies/untamed-3549482/actors The Heart https://zh.listvote.com/lists/film/movies/the-heart-19567789/actors Daughters, Wives https://zh.listvote.com/lists/film/movies/daughters%2C-wives-and-a-mother-3071965/actors and a Mother Older Brother, https://zh.listvote.com/lists/film/movies/older-brother%2C-younger-sister-930109/actors Younger Sister The Lady of https://zh.listvote.com/lists/film/movies/the-lady-of-musashino-3010935/actors Musashino The Romance of https://zh.listvote.com/lists/film/movies/the-romance-of-yushima-7761407/actors Yushima Floating Clouds https://zh.listvote.com/lists/film/movies/floating-clouds-3346017/actors æ‡¶å¤«ç¡ æ¼¢ https://zh.listvote.com/lists/film/movies/%E6%87%B6%E5%A4%AB%E7%9D%A1%E6%BC%A2-2005041/actors ç¾…ç”Ÿé–€ https://zh.listvote.com/lists/film/movies/%E7%BE%85%E7%94%9F%E9%96%80-135465/actors æ¦ å£«é“ æ®˜é… https://zh.listvote.com/lists/film/movies/%E6%AD%A6%E5%A3%AB%E9%81%93%E6%AE%98%E9%85%B7%E7%89%A9%E8%AA%9E- ·ç‰©èªž 1403726/actors ç™½ç—´ (1951å¹ https://zh.listvote.com/lists/film/movies/%E7%99%BD%E7%97%B4-%281951%E5%B9%B4%E9%9B%BB%E5%BD%B1%29- ´é›»å½±) 1194546/actors é›¨æœˆç‰©èªž https://zh.listvote.com/lists/film/movies/%E9%9B%A8%E6%9C%88%E7%89%A9%E8%AA%9E-1076605/actors çºŒå§¿ä¸‰å››éƒŽ https://zh.listvote.com/lists/film/movies/%E7%BA%8C%E5%A7%BF%E4%B8%89%E5%9B%9B%E9%83%8E-2296227/actors æ¥Šè²´å¦ƒ https://zh.listvote.com/lists/film/movies/%E6%A5%8A%E8%B2%B4%E5%A6%83-936295/actors https://zh.listvote.com/lists/film/movies/2637288/actors å¥³äººæ‐ https://zh.listvote.com/lists/film/movies/%E5%A5%B3%E4%BA%BA%E6%AD%A5%E4%B8%8A%E6%A5%BC%E6%A2%AF%E6%97%B6- ¥ä¸Šæ¥¼æ¢¯æ— 2714058/actors ¶ è¸è ™Žå°¾çš„ç”·äºº https://zh.listvote.com/lists/film/movies/%E8%B8%8F%E8%99%8E%E5%B0%BE%E7%9A%84%E7%94%B7%E4%BA%BA-610158/actors.

Copy Link

Recommended publications

Thirteen Feature Films by Kon Ichikawa to Be Presented
'he Museum of Modem Art %'^ Vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Wo. 20 FOR IM^'TEDIATE RELEASE Friday, February 10, 1967 Thirteen feature films by the Japanese director Kon Ichikawa will be presented by the Department of Film of The Museum of Modem Art from February 12 through February 27• The films range from Ichikawa's satirical comedies of the early *50*s to the more recent tragedies attempting to show the "pain of our age»" All of the films are in Japanese with English subtitles. Describing his work, Ichikawa says, "I try to visualize everything...I'm the kind of person who has to see something — even in my own imagination «•- before I understand it. I started as a painter and I think like one. That is wl:^ the camera is so important to me« I plan all the set-ups and I always check the framing, and I usually try to work with (a cameraman) I know.•••I design the sets too, usually... and I'd probably do the music too if I could." Film critic Donald Richie describes the resulting "Ichikawa look": "The angular pattern is usually bold, the balance is almost always asymmetrical, the framing is precise, and yet the composition rarely calls attention to itself*" At 18 after graduation from an Osaka commercial school Ichikawa began studying animation and in 19h6 completed a puppet-film based on a famous Kabuki dance. (The Occupation authorities, concerned with discovering "feudal remnants," seized the neg ative and it has never been found.) After that, Ichikawa joined Toho Production Company and began making satirical comedies until 1955 when he switched to more serious subject matter with The Burmese Harp* He says, "I had become aware that men are unhappy.
[Show full text]
Filmography of Case Study Films (In Chronological Order of Release)
FILMOGRAPHY OF CASE STUDY FILMS (IN CHRONOLOGICAL ORDER OF RELEASE) Kairo / Pulse 118 mins, col. Released: 2001 (Japan) Director: Kiyoshi Kurosawa Screenplay: Kiyoshi Kurosawa Cinematography: Junichiro Hayashi Editing: Junichi Kikuchi Sound: Makio Ika Original Music: Takefumi Haketa Producers: Ken Inoue, Seiji Okuda, Shun Shimizu, Atsuyuki Shimoda, Yasuyoshi Tokuma, and Hiroshi Yamamoto Main Cast: Haruhiko Kato, Kumiko Aso, Koyuki, Kurume Arisaka, Kenji Mizuhashi, and Masatoshi Matsuyo Production Companies: Daiei Eiga, Hakuhodo, Imagica, and Nippon Television Network Corporation (NTV) Doruzu / Dolls 114 mins, col. Released: 2002 (Japan) Director: Takeshi Kitano Screenplay: Takeshi Kitano Cinematography: Katsumi Yanagijima © The Author(s) 2016 217 A. Dorman, Paradoxical Japaneseness, DOI 10.1057/978-1-137-55160-3 218 FILMOGRAPHY OF CASE STUDY FILMS… Editing: Takeshi Kitano Sound: Senji Horiuchi Original Music: Joe Hisaishi Producers: Masayuki Mori and Takio Yoshida Main Cast: Hidetoshi Nishijima, Miho Kanno, Tatsuya Mihashi, Chieko Matsubara, Tsutomu Takeshige, and Kyoko Fukuda Production Companies: Bandai Visual Company, Offi ce Kitano, Tokyo FM Broadcasting Company, and TV Tokyo Sukiyaki uesutan jango / Sukiyaki Western Django 121 mins, col. Released: 2007 (Japan) Director: Takashi Miike Screenplay: Takashi Miike and Masa Nakamura Cinematography: Toyomichi Kurita Editing: Yasushi Shimamura Sound: Jun Nakamura Original Music: Koji Endo Producers: Nobuyuki Tohya, Masao Owaki, and Toshiaki Nakazawa Main Cast: Hideaki Ito, Yusuke Iseya, Koichi Sato, Kaori Momoi, Teruyuki Kagawa, Yoshino Kimura, Masanobu Ando, Shun Oguri, and Quentin Tarantino Production Companies: A-Team, Dentsu, Geneon Entertainment, Nagoya Broadcasting Network (NBN), Sedic International, Shogakukan, Sony Pictures Entertainment (Japan), Sukiyaki Western Django Film Partners, Toei Company, Tokyu Recreation, and TV Asahi Okuribito / Departures 130 mins, col.
[Show full text]
Bamcinématek Presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 Tales of Rampaging Beasts and Supernatural Terror
BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 tales of rampaging beasts and supernatural terror September 21, 2018/Brooklyn, NY—From Friday, October 26 through Thursday, November 1 BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, a series of 10 films showcasing two strands of Japanese horror films that developed after World War II: kaiju monster movies and beautifully stylized ghost stories from Japanese folklore. The series includes three classic kaiju films by director Ishirô Honda, beginning with the granddaddy of all nuclear warfare anxiety films, the original Godzilla (1954—Oct 26). The kaiju creature features continue with Mothra (1961—Oct 27), a psychedelic tale of a gigantic prehistoric and long dormant moth larvae that is inadvertently awakened by island explorers seeking to exploit the irradiated island’s resources and native population. Destroy All Monsters (1968—Nov 1) is the all-star edition of kaiju films, bringing together Godzilla, Rodan, Mothra, and King Ghidorah, as the giants stomp across the globe ending with an epic battle at Mt. Fuji. Also featured in Ghosts and Monsters is Hajime Satô’s Goke, Body Snatcher from Hell (1968—Oct 27), an apocalyptic blend of sci-fi grotesquerie and Vietnam-era social commentary in which one disaster after another befalls the film’s characters. First, they survive a plane crash only to then be attacked by blob-like alien creatures that leave the survivors thirsty for blood. In Nobuo Nakagawa’s Jigoku (1960—Oct 28) a man is sent to the bowels of hell after fleeing the scene of a hit-and-run that kills a yakuza.
[Show full text]
KUROSAWA Player.Bfi.Org.Uk
OVER 100 YEARS OF JAPANESE CINEMA Watch now on PART 1: KUROSAWA player.bfi.org.uk Watch now on 1 @BFI #BFIJapan OVER 100 YEARS OF JAPANESE CINEMA We have long carried a torch for Japanese film here at the BFI. IN PARTNERSHIP WITH Since the first BFI London Film Festival opened with Akira Kurosawa’s Throne of Blood in 1957, we’ve played a vital role in bringing the cinema of this culturally rich nation to UK audiences through our festivals, seasons, theatrical distribution, books and video publishing. In this major season we spotlight filmmakers who have inspired admiration and With special thanks to: fascination around the world. We begin our story with Akira Kurosawa, and over the coming months we’ll present films from the Golden Age, a focus on Yasujiro Ozu, new wave rebels, the visionary creations of anime, the netherworlds of J-horror, and so much more from archive rarities to contemporary works and cult classics. This landmark season will take place on BFI Player from 11 May onwards, With the kind support of: with new online collections released each month, and we expect to present it Janus Films/The Criterion Collection, Kadokawa Corporation, at BFI Southbank and cinemas nationwide later this year. Kawakita Memorial Film Institute, Kokusai Hoei Co., Ltd, The Japanese Cinema Book, published by BFI & Bloomsbury to coincide Nikkatsu Corporation, Toei Co., Ltd with the season, is out now. Cover artwork: TOKYO STORY ©1953/2011 Shochiku Co., Ltd., OUTRAGE 2010 Courtesy of STUDIOCANAL, AUDITION 1999 © Arrow Films, HARAKIRI ©1962 Shochiku Co., Ltd. Watch now on 2 @BFI #BFIJapan PART 1: KUROSAWA WATCH ON NOW This retrospective collection on BFI Player helps to confirm Kurosawa’s status as one of the small handful of Japanese directors who truly belong to world cinema, writes Alexander Jacoby If Yasujiro Ozu is often called ‘the most Japanese of Japanese directors’, then one could almost identify Akira Kurosawa as the least Japanese of Japanese directors.
[Show full text]
Film Noir in Postwar Japan Imogen Sara Smith
FILM NOIR IN POSTWAR JAPAN Imogen Sara Smith uined buildings and neon signs are reflected in the dark, oily surface of a stagnant pond. Noxious bubbles rise to the surface of the water, which holds the drowned corpses of a bicycle, a straw sandal, and a child’s doll. In Akira Kurosawa’s Drunken Angel (1948), this fetid swamp is the center of a disheveled, yakuza-infested Tokyo neighborhood and a symbol of the sickness rotting the soul of postwar Japan. It breeds mosquitos, typhus, and tuberculosis. Around its edges, people mourn their losses, patch their wounds, drown their sorrows, and wrestle with what they have been, what they are, what they want to be. Things looked black for Japan in the aftermath of World War II. Black markets sprang up, as they did in every war-damaged country. Radioactive “black rain” fell after the atomic bombings of Hiroshima and Nagasaki. Black Spring was the title of a 1953 publication that cited Japanese women’s accounts of rape by Occupation forces. In “Early Japanese Noir” (2014), Homer B. Pettey wrote that in Japanese language and culture, “absence, failure, or being wrong is typified by blackness, as it also indicates the Japanese cultural abhorrence for imperfection or defilement, as in dirt, filth, smut, or being charred.” In films about postwar malaise like Drunken Angel, Kenji Mizoguchi’s Women of the Night (1948), and Masaki Kobayashi’s Black River (1957), filth is everywhere: pestilent cesspools, burnt-out rubble, grungy alleys, garbage-strewn lots, sleazy pleasure districts, squalid shacks, and all the human misery and depravity that go along with these settings.
[Show full text]
January 2016 This Year, We Will Celebrate Our Betsuin’S Centennial, Our Milestone 100Th Year of Serving the Hawaii Community
Higashi Hongwanji Mission of Hawaii NON-PROFIT ORG. 1685 Alaneo Street U.S. POSTAGE Honolulu, Hawaii 96817 PAID Honolulu, HI Permit No. 693 Address Service Requested In this issue of WA... ‘wa’ 2016 Message to our Members and Friends t/FX:FBSNFTTBHFTGSPN3JOCBO harmony 3JOCBO,FOKVO,BXBXBUB .JOJTUFS,ZPEBOQSFTJEFOUp. 1-2 t Mochi-tsuki BU#FUTVJOp. 3 Higashi Hongwanji t OzoniBU/FX:FBSTFSWJDFp. 3 Hawaii Betsuin HBQQZ/FX:FBS t+BOVBSZNPWJF Still Walking p. 3 Bulletin First of all I would like to express my sincere appreciation to all of you who t :FBSPG.POLFZQSPWFSCTp. 4 supported this Betsuin over the past year. Without your support, we could not t )BXBJJ%JTUSJDUHBUIFSJOHp. 5 have such a meaningful year at our temple. t 4QFDJBMBOOJWFSTBSZTFSWJDFTp. 6 January 2016 This year, we will celebrate our Betsuin’s centennial, our milestone 100th year of serving the Hawaii community. At the same time t +BOVBSZTIPUTVLJMJTUJOHp. 6 Higashi Hongwanji Hawaii District will be observing the t "DLOPXMFEHNFOUTp. 7 1 750th Memorial Service for our founder, Shinran Shonin. t5FNQMFBDUJWJUJFTDBMFOEBSp. 8 The Betsuin was initially established in 1916 by Rev. Higashi Hongwanji Shingyo Doi from Gifu prefecture in Japan, along with the Mission of Hawaii original members, on Kukui Street in uptown Honolulu. The Betsuin has been spreading the Nembutsu teaching At Higashi Hongwanji, we remain here in Hawaii ever since. true to our origins During the Betsuin’s hundred-year history, members as an open Sangha, welcoming faced numerous obstacles, including a temporary forced anyone who wishes to learn more Rinban Ken Kawawata Temple Activities Calendar about the Jodo Shinshu shutdown of the temple during World War II.
[Show full text]
Page 1 of 3 Dvdbeaver.Com
DVDBeaver.com - When a Woman Ascends the Stairs - Review by Gary W. Tooze Page 1 of 3 When a Woman Ascends the Stairs directed by Mikio Naruse Review by Gary W. Tooze Keiko (affectionately known as “Mama”) is an extremely attractive and gentle senior employee of a Ginza bar in Tokyo. Here women socialize as paid escorts for men to varying degrees of interaction. Keiko is respected and admired for her ability to separate her unsentimental “business” persona and avoid prostituting herself to the array of clients that proposition her. After her husband died in a truck accident 5 years hence she was forced into this occupation to help support her mother, excessively passive and financially desperate brother and his son struck with polio. The occupation of a hostess is honestly shown as a spiral of monetary compromising enticement, search for a supporting pecuniary marriage proposal and vicious circle of expenditure of expected fashion accoutrements to compete in the aggressive and ruthless world of her profession. http://207.136.67.23/film/reviews/wawats.htm 7/17/02 DVDBeaver.com - When a Woman Ascends the Stairs - Review by Gary W. Tooze Page 2 of 3 Approaching her 30th birthday she despairingly comes to the realization of the inevitable future demise of her looks and therefore her income. With the persuasion of one of her clients she formulates a plan to have sponsors help her to open her own Ginza bar. However, the occupational hazards of her profession are fraught with surrounding corruption, deceit, her own health problems and suicide of a colleague.
[Show full text]
Shakespeare Bulletin Final Article Project Muse 629790.Pdf
ORE Open Research Exeter TITLE The Auteur Aﬀect: "Forces of Encounter" between Shakespeare and Kurosawa in The Bad Sleep Well AUTHORS Gee, FC JOURNAL Shakespeare Bulletin: a journal of performance, criticism, and scholarship DEPOSITED IN ORE 24 November 2016 This version available at http://hdl.handle.net/10871/24579 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may diﬀer from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication 7KH$XWHXU$IIHFW¶)RUFHVRI(QFRXQWHU·EHWZHHQ6KDNHVSHDUHDQG.XURVDZDLQ 7KH%DG6OHHS:HOO )HOLFLW\*HH 6KDNHVSHDUH%XOOHWLQ9ROXPH1XPEHU)DOOSS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2, KWWSVGRLRUJVKE )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by University of Exeter (23 Nov 2016 16:34 GMT) The Auteur Affect: ‘Forces of Encounter’ between Shakespeare and Kurosawa in The Bad Sleep Well FELICITY GEE University of Exeter In “Revenge of the Author” (1999), Colin MacCabe attempts to “bring into alignment two major and contradictory areas” that he finds difficult to resolve within the field of 1970s film studies. The first of these is the seismic shift brought about by reading Roland Barthes’s “The Death of the Author” (1967), and the second his own participation in the making of feature films. The former dispatches with the “origin” (author) of the text in favor of the destination (reader/audience), while the experience of being an active crewmember on a film set reveals the steer of an author (MacCabe 30). As MacCabe notes, in the 1970s the discipline of film studies was largely defined by the seeming impasse posited via theories of authorship in Cahiers du cinéma and dissected in concurrent works of poststructuralism: “For Barthes, the author is the figure used to obscure the specificity of the textual.
[Show full text]
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: Filmografia Autor/es: Devesa, Dolores; Potes, Alicia Citar como: Devesa, D.; Potes, A. (1999). Filmografia. Nosferatu. Revista de cine. (29):88- 97. Documento descargado de: http://hdl.handle.net/10251/41126 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Ai ni Yomigaeru Hi (E/ día en que vuelve el amor) (1923) ruko Sawamura, Koichi Katsugari . Nota: según otra fuente: guión e hi storia original: Hanabishi Kawamura. El tema del Dirección: Ke nji Mi zoguchi. Producción: Nikkatsu, estu film se inspiró en el terremoto que asoló la región de Tokio dios Mukójima (Tokio). Guión: Osamu Wakayama. Foto el 1 de septiembre de 1923. grafía: Toshimitsu Takasaka. Intérpretes: Kaichi Yama moto, Ki yoshi Mori , Yoshi suke Koizumi, Takeo Oguri , Shi geru Kido, Ki chiji Nakamura, Rokuro Uesugi, Satoru Shi Yoru (La noche) (1923) rakawa, Shi geru Mifune. Dirección y guión: Ke nji Mi zoguchi . Producción: Nikkatsu, estudios Mukójima (Tokio). Argumento: La pri Furusato 1 Kokyó (La rierra naral) ( 1923) mera parte está basada en la novela ameri cana de serie negra "The Beautiful Demon ", y la segunda en la narración del Dirección y gu10n: Ke nji Mi zoguchi .
[Show full text]
おとうと Ototo Her Brother 雪之丞変化 Kon Ichikawa Yukinojo Henge Producer Hiroaki Fujii
الوادي Al-wadi 철원기행 Cheol won gi haeng בן זקן Ben Zaken フタバから遠く離れて第二部 Futaba kara toku hanarete dainibu ダリー・マルサン Dari Marusan ثمانية وعشرون ليﻻً وبيت من الشعر Thamaniat wa ushrun laylan wa bayt min al-sheir Чайки Chaiki مادرِ قلبْ امتی Madare ghalb atomi 水の声を聞く Mizu no koe o kiku מכיוון היער Me’kivun ha’yaar המכה השמונים ואחת Ha'makah ha'shmonim ve'ahat 炎上 Enjo © Kadokawa Corporation おとうと Ototo Her Brother 雪之丞変化 Kon Ichikawa Yukinojo henge Producer Hiroaki Fujii. Production company Daiei Film (Kioto, Young Gen and her brother Hekiro live with their father and stepmother. Japan). Director Kon Ichikawa. Screenplay Yoko Mizuki. Due to the stepmother’s severe rheumatism, it’s Gen who does most of Director of photography Kazuo Miyagawa. Production de- the work around the house. She’s also unceasingly loyal to her brother, a sign Tomoo Shimogawara. Sound Mitsuo Hasegawa. Music good-for-nothing rebel incapable of avoiding trouble. Their mother, a pi- Yasushi Akutagawa. Restoration/director Masahiro Miyajima. ous Christian who feels the rest of the family doesn’t really accept her, of- Restoration/sound Mototsugu Hayashi. ten laments her poor health. The father never really listens to his family’s Cast Keiko Kishi (Gen), Hiroshi Kawaguchi (Hekiro), Kinuyo troubles, content to dole out platitudes when not remaining silent. The Tanaka (mother), Masayuki Mori (father), Noboru Nakaya (po- family’s fragile relationships only begin to heal when Hekiro becomes seri- liceman), Jun Hamamura (doctor), Kyoko Kishida (Mrs Tanuma), ously ill. Kon Ichikawa is as non-judgemental as one of the songs playing at Takaya Hijikata (Nakata), Sho Natsuki (detective), Kyoko Enami the hospital, its lyrics referencing “The sins of the parents, the sins of the (nurse Miyata).
[Show full text]
MIKIO NARUSE: a MASTER of the JAPANESE CINEMA Opens at Moma September 23
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART For Immediate Release September 1985 MIKIO NARUSE: A MASTER OF THE JAPANESE CINEMA Opens at MoMA September 23 The distinctly Japanese world view of director Mikio Naruse is the subject of MIKIO NARUSE: A MASTER OF THE JAPANESE CINEMA, an exhibition of twenty-five subtitled films to be screened from September 23 to October 22, 1985* in The Museum of Modern Art's Roy and Niuta Titus Theater 1. Fourteen additional works will supplement the eleven films in last year's Naruse retrospective, which was organized by the Japan Society and the Museum's Department of Film (complete schedule attached). Naruse (1905-1965) held a darker view of the human condition than either Ozu or Mizoguchi, two Japanese directors with whom he is usually linked. His home dramas exposed the rigidity of the customs of daily life and the inflexibility of family bonds. Naruse scholar Audie Bock, who helped to organize the exhibition, states that "the determined characters of the Naruse film never give up. A stubborn dedication to their own self-respect in the face of overwhelming crassness, vulgarity, and exploitation, from even those who should be most sensitive and protective toward the individual, lends Naruse's heroines a distinctive nobility." Emotionalism and lyricism were a part of Naruse's richly detailed pictorial style, in spite of his basic defiant vision. He worked for forty-seven years within the studio system, yet refused to compromise on his exposure of life's falsehoods.
[Show full text]
JAPANESE CINEMA DONALD Eichie Has Lodg Been the Internationally Acclaimed Expert on the Japanese Film
JAPANESE CINEMA DONALD EiCHiE has loDg been the internationally acclaimed expert on the Japanese film. He is a former member of Uni- Japan Film and film critic for The Japan Times, and is pres- ently Curator of the Film Department at the Museum of Modern Art, New York. He designed and presented the Kurosawa and Ozu retrospectives, as well as the massive 1970 retrospective at the museum, The Japanese Film. His book on The Films of Akira Kurosawa has been called a "virtual model for future studies in the field." Mr. Richie has been a resident of Japan for the past twenty-five years. Film books by Donald Richie: The Cinematographic View: A Study of the Film. 1958. The Japanese Film: Art and Industry. 1959. Co-authored with Joseph L. Anderson. Japanese Movies. 1961. The Japanese Movie: An Illustrated History. 1965. The Films of Akira Kurosawa. 1965. George Stevens: An American Romantic. 1970. Japanese Cine2wa Film Style and National Character Donald Ricliie Anchor Books DOUBLEDAY & COMPANY, INC., GABDKN CTTY, NEW YORK This book is an extensively revised, expanded, and updated version of Japanese Movies, © 1961 by Japan Travel Bureau. Original material reprinted by pemMSsion of the Japan Travel Bureau, Inc., Japan. Library of Congress Catalog Card Number 77-163122 Copyright © 1971 by Donald Richie Copyright © 1961 by Japan Travel Bureau All Rights Reserved Printed in the United States of America CONTENTS List of Illiistrations vii Introduction xvii 1896-1945 1 194&-1971 59 Appendix 239 Index 250 LIST OF ILLUSTRATIONS The Abe Clan, 1938. 29 An Actor's Revenge, 1963.
[Show full text]