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Download the Brochure (ENG) Restored & Unseen Film history is not Eye Filmmuseum a closed book but Bring fi lm lovers together and before you know it a continuing story. they’ll be discussing fi lms that need catching up on or just have to be watched again. Preferably on the big screen, whether they are acclaimed master- pieces or forgotten gems. Restored & Unseen picks up this by offering biweekly screenings of restored classics and rediscovered fi lms, with introductions JAPAN by Eye programmer Leo van Hee or special guests. Programme December 2019 RESTORED Japan Restored Classic Japanese cinema rediscovered 6 – 23 December , 1959 Ozu - , Kenzo Mizoguchi, 1954 Yasujiro Sansho the Bailiff Floating Weeds, Sansho the Bailiff Floating Weeds Kenji Mizoguchi, 1954, 126’ Yasujiro- Ozu, 1959, 119’ Rarely screened today: Sansho the Bailiff, a Ozu’s colour remake of his 1934 silent classic classic by the Japanese master Kenji Miozguchi. A Story of Floating Weeds, about an elderly actor , 1959 An epic on the suffering, ambition and eventual who returns with his company to a small town Ozu - decline of two aristocratic families in the where he is reunited with his former lover and his Yasujiro eleventh century (the Heian Era). illegitimate son. Mon 9 Dec 18.45, Sat 21 Dec 16.15 Sat 14 Dec 16.00, Mon 23 Dec 19.00 Floating Weeds, With an introduction by Ivo Smits (Professor of With an introduction by Dick Stegewerns Arts and Cultures of Japan, Leiden University) (Associate Professor Japan Studies, Oslo on 9 December. University) on 23 December. Japan Restored is organized in collaboration with the Japanese Embassy (The Hague) and The Japan Foundation (Tokyo) More Eye Filmmuseum: @eye_fi lm /eyefi lm JAPAN eyefi lm.nl/japanrestored RESTORED Classic Japan Restored Japanese cinema rediscovered , 1953 Ozu - , Kenji Mizoguchi, 1952 Yasujiro The Life of Oharu Tokyo Story, The Life of Oharu Tokyo Story Kenji Mizoguchi, 1952, 148’ Yasujiro- Ozu, 1953, 135’ Once Oharu was a stunningly beautiful geisha. A poignant story of the alienation between The golden years of Japanese cinema, the 1950s, are brought to life in Now that old age has caught up with her, she is grandparents living in the country and their big a programme featuring brand new 4K restorations of seven classics in , 1953 gradually shunned to the lower echelons and city children and grandchildren in Tokyo. The Ozu an international tour organised by The Japan Foundation. Also screened - forced to beg for a living. deeply moving Tokyo Story is undoubtedly one is the meticulously restored later fi lm The Ballad of Narayama (1983), Yasujiro Tues 10 Dec 16.00, Sat 14 Dec 18:45 of the greatest masterpieces in the history of Shohei Imamura’s Palme d’Or winner at Cannes. cinema. Tokyo Story, Fri 13 Dec 19.00 The Ballad of Narayama The Crucifi ed Lovers The Flavor of Green Tea over Rice Shohei Imamura, 1983, 130’ Early Spring Kenji Mizoguchi, 1954, 102’ Yasujiro- Ozu, 1952, 115’ Yasujiro- Ozu, 1956, 144’ Ancient traditions are honoured in a mountain One of Kenji Mizoguchi’s late period master pieces The last screening of this fi lm in the Netherlands village in the north of Japan. Elderly villagers After Early Summer, Late Spring and Tokyo Story, from the 1950s. The wife of an artisan is accused was more than two decades ago. The Flavor of who reach the age of 70 are taken by their Ozu provided a portrait of the family life of a of adultery with a servant. When the two are Green Tea over Rice, Ozu’s personal favourite in children to the top of a mountain, where they are simple Japanese ‘salary man’. He did so with sentenced to death, they realise how strong their an oeuvre spanning more than fi fty fi lms, subtly left to die. Shohei Imamura’s tale about the warmth, humour and compassion for the hard love is. reveals class differences and tensions in a long- energetic Orin who prepares for his death was workers at the bottom of the corporate hierarchy. Fri 6 Dec 19.00, Fri 20 Dec 16.30 standing marriage in 1950s Tokyo. awarded the Palme d’Or at Cannes in 1983. Sun 15 Dec 18.30 Sat 7 Dec 19.00 Fri 13 Dec 16.00, Fri 20 Dec 19.00 With an introduction by Japan specialist Dick Stegewerns on 6 December. Ozu, 1952 - Yasujiro , Shohei Imamura, 1983 Ozu, 1956 , Kenji Mizoguchi, 1954 - , Yasujiro The Crucifi ed Lovers ed Crucifi The The Flavor of Green Tea over Rice, The Ballad of Narayama Early Spring.
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  • Kenji Mizoguchi Cinematographic Style (Long Take) in 'The Life of Oharu' (1952)
    KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN 'THE LIFE OF OHARU' (1952). Rickmarthel Julian Kayug Bachelor ofApplied Arts with Honours (Cinematography) 2013 UNIVERSITI MALAYSIA SARAW AK BORANG PENGESAHAN STATUS TESIS/LAPORAN JUDUL: Kenji Mizoguchi Cinematographic Style (Long Take) In The 'Life OfOharu' (1952). SESI PENGAJIAN: 200912013 Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011 mengaku membenarkan tesisl Laporan * ini disimpan di Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut: 1. Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak 2. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan untuk tujuan pengajian sahaja 3. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan 4. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi pengajian tinggi 5. *sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan SULIT 6·D atau kepentingan seperti termaktub di dalam AKTA RAHSIA 1972) TERHAD D (mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan) V ~IDAK TERHAD Disahkan Disahkan Oleh: c:dt~f • Tandatangan Penulis Tandatangan Penyelia Tarikh t:L~ 1"""~ ~ l3 Tarikh: '~I O-=l""/?4l ~ Alamat Tetap: Kg. Pamilaan, Peti Surat 129,89908 Tenom, Sabah. Mobil Jefri ~ samareoa Lect\Il'U . faculty ofApplie4 aM CrcallVe Catatan: *Tesis/ Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah,~a Muda • lika Tesis/ Laporan SULIT atau TERHAD, sila lampirkan surat daripada pihak berkuasal organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis/ laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD This project report attached hereto, entitled "KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)".
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  • Cinefiles Document #37926
    Document Citation Title Yasujiro Ozu: filmmaker for all seasons Author(s) Source Pacific Film Archive Date 2003 Nov 23 Type program note Language English Pagination No. of Pages 10 Subjects Ozu, Yasujiro (1903-1963), Tokyo, Japan Film Subjects Hitori musuko (The only son), Ozu, Yasujiro, 1936 Shukujo wa nani o wasureta ka (What did the lady forget?), Ozu, Yasujiro, 1937 Todake no kyodai (The brothers and sisters of the Toda family), Ozu, Yasujiro, 1941 Chichi ariki (There was a father), Ozu, Yasujiro, 1942 Nagaya shinshiroku (The record of a tenement gentleman), Ozu, Yasujiro, 1947 Ohayo (Good morning), Ozu, Yasujiro, 1959 Tokyo no yado (An inn at Tokyo), Ozu, Yasujiro, 1935 Hogaraka ni ayume (Walk cheerfully), Ozu, Yasujiro, 1930 Tokyo monogatari (Tokyo story), Ozu, Yasujiro, 1953 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) Dekigokoro (Passing fancy), Ozu, Yasujiro, 1933 Shukujo to hige (The lady and the beard), Ozu, Yasujiro, 1931 Wakaki hi (Days of youth), Ozu, Yasujiro, 1929 Sono yo no tsuma (That night's wife), Ozu, Yasujiro, 1930 Kohayagawa-ke no aki (The end of summer), Ozu, Yasujiro, 1961 Rakudai wa shita keredo (I flunked, but...), Ozu, Yasujiro, 1930 Tokyo no gassho (Tokyo chorus), Ozu, Yasujiro, 1931 Banshun (Late spring), Ozu, Yasujiro, 1949 Seishun no yume ima izuko (Where now are the dreams of youth?), Ozu, Yasujiro, 1932 Munekata shimai (The Munekata sisters), Ozu, Yasujiro, 1950 Hijosen no onna (Dragnet girl), Ozu, Yasujiro, 1933 Ochazuke no aji (The flavor of green tea over rice), Ozu,
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  • The Moment of Instability: the Textual and Intertextual Analysis of Ozu Yasujiro’S Passing Fancy
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    FAC@JGC John Gray Centre Star Room April 2016 Tokyo Story (Tokyo monogatari, Yasujiro Ozu, 1953) Discussion Points 1. Think about what is at the core (theme) of the story? 2. How does Ozu depict family dynamics in this film – specifically the bond between parents and children? 3. How do you respond to the slow pace of the film? 4. What is your opinion on the portrayal of women in the narrative? 5. What do you think is the effect of presenting: (a) frames in which the camera is right between the two people conversing and films each person directly? (b) so-called tatami shots (the camera is placed as if it were a person kneeling on a tatami mat)? 1 Dr Hanita Ritchie Twitter: @CineFem FAC@JGC John Gray Centre Star Room April 2016 6. How does Ozu present the progression of time in the story? 7. Think about the following translated dialogue between Kyoko, the youngest daughter in the family, and Noriko, the widowed daughter-in-law, after Mrs Hirayama’s death. How would you interpret it in terms of the story as a whole? K: “I think they should have stayed a bit longer.” N: “But they’re busy.” K: “They’re selfish. Demanding things and leaving like this.” N: “They have their own affairs.” K: “You have yours too. They’re selfish. Wanting her clothes right after her death. I felt so sorry for poor mother. Even strangers would have been more considerate.” N: “But look Kyoko. At your age I thought so too. But children do drift away from their parents.
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  • News from the Getty
    NEWS FROM THE GETTY news.getty.edu | [email protected] DATE: April 11, 2013 MEDIA CONTACT FOR IMMEDIATE RELEASE Alexandria Sivak Getty Communications (310) 440-6473 [email protected] GETTY EXPLORES JAPANESE CINEMA WITH IN TOKYO FILM SERIES Still from Tokyo Drifter, 1966 Saturday and Sunday, April 20–21, 2013 Saturday and Sunday, April 27–28, 2013 At the J. Paul Getty Museum, Getty Center LOS ANGELES—In conjunction with the exhibition Japan's Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto, the Getty presents a film series reflecting the Shōwa Era (1926–89) of Japan. The films chosen feature the magnificent city of Tokyo, a metropolis that before the war was in transition, and after became a city that rebuilt itself like no other in modern history. Featuring directors Akira Kurosawa, Yasujiro Ozu, Hiroshi Shimzu, and other noted filmmakers, the series surveys Tokyo’s diverse inhabitants, including sharp-dressed yakuza, the elderly and their grown children, and prostitutes in brothels. Class struggle and the aftermath of World War II are just a few of the subjects featured in the films. -more- Page 2 FILM SERIES: IN TOKYO This film series is intended for teen and adult audiences. Location: Harold M. Williams Auditorium Admission: Free; reservations required, limit 4 seats per person. Call (310) 440-7300 or visit www.getty.edu. Mr. Thank You Saturday, April 20, 2013, 4:00 p.m. Directed by Hiroshi Shimizu (1936, 78 minutes, DVD) This film is set almost entirely on a bus ride from the rural countryside to the outskirts of Tokyo.
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  • Scene at the Kyoto Inn: Teaching Ozu Yasujiro's
    The Scene at the Kyoto Inn: Teaching Ozu Yasujiro’s Late Spring Daisuke Miyao East Asian Languages and Literatures University of Oregon (2003-2004 ExEAS Postdoctoral Fellow) [email protected] Table of Contents 1. Themes and Goals 2. Audience and Uses 3. Instructor’s Introduction 4. Instructor Readings 5. Film Screening and Close Analysis of a Scene 6. Student Readings 7. Optional Comparative Screening 8. Discussion Questions A. Ozu and the Question of Japaneseness B. Late Spring and the Depiction of Japanese Culture C. The Scene at the Kyoto Inn 1. Themes and Goals Since the 1960s, Japanese director OZU Yasujiro (1903-1963) has been the object of popular and critical attention by international film scholars and audiences. Ozu is widely considered “the most Japanese” of Japanese directors, but what does “the most Japanese” mean? Do Ozu’s films express the special characteristics of Japanese cinema? If so, what constitutes the cultural specificity of Japanese cinema? Such questions are complicated by the fact that Ozu was an avid consumer of foreign films. The director considered “the most Japanese” was himself steeped in foreign popular culture. In addition to addressing the relationship between Ozu’s body of work and Japanese cinema in general, this unit asks how we might understand his films in relation to global film cultures and international histories of cinema. This unit explores these and other questions through a close examination of Late Spring (Banshun, 1949), one of Ozu’s best-known films and a critical and popular success at the time of its release. Instructors are encouraged to use the complete film, but an option is also given for showing a single scene that addresses many of the unit’s main themes.
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  • AN AUTUMN AFTERNOON (Sanma No Aji) Directed by Yasujiro Ozu Japan, 1962, 112 Mins, Cert PG
    AN AUTUMN AFTERNOON (Sanma no aji) Directed by Yasujiro Ozu Japan, 1962, 112 mins, Cert PG With Chishu Ryu, Shima Iwashita, Keiji Sada, Mariko Okada New 2K restoration Opening on 16 May 2014 at BFI Southbank and selected cinemas nationwide 17/3/14 – Now ravishingly restored by Shochiku Studios, Japan’s National Film Centre and the National Museum of Modern Art, Tokyo, An Autumn Afternoon is the final work of Japanese master filmmaker Yasujiro Ozu (1903 – 1963). One of the greatest last films in all of cinema history, it is released by the BFI in cinemas nationwide on 16 May. While the film’s original Japanese title (which translates as ‘The Taste of Mackerel’) is less obviously elegiac than its English one, Ozu’s masterpiece is truly autumnal, charting the inevitable eclipse of older generations by irreverent youth. Revisiting the storyline of his earlier Late Spring (1949), Ozu collaborates once more with his regular screenwriter Kogo Noda and casts the familiar face of Chishu Ryu in the role of Hirayama, an elderly widower worried about the unmarried daughter who keeps house for him. Counselled on all sides to marry her off before it is too late, Hirayama plays matchmaker and reluctantly prepares to bid his old life farewell. The themes throughout are familiar from much of the director’s greatest work: everyday life with all its ups and downs – at home, at work, in local bars, with family, with old friends. These are ordinary people whose stories may not have big melodramatic moments, but whose concerns – loneliness, ageing parents, family responsibility – resonate deeply with us all.
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  • The Films of Kenji Mizoguchi: Authorship and Vernacular Style
    The Films of Kenji Mizoguchi: Authorship and Vernacular Style Paul Spicer This thesis is submitted in partial fulfilment of the requirements of the award of the degree of Doctor of Philosophy of the University of Portsmouth October 2011 Contents Declaration i List of Figures ii Notes on Translation v Acknowledgements vii Dedication ix Introduction 1 Chapter One – Ideas of Language 34 Chapter Two – Ideas of Authorship 76 Chapter Three – Mizoguchi and Mise en Scène 119 Chapter Four – Ideas of Spectatorship 162 Chapter Five – Mizoguchi and Melodrama 195 Chapter Six – Mizoguchi and Theatre 247 Conclusion 288 Bibliography 308 Select Filmography 319 Mizoguchi Filmography 321 Appendix One: Interview with Oshima Kinue 328 Appendix Two: Interview with Sawato Midori 336 Appendix Three: Interview with Saso Tsutomu 349 Appendix Four: Omoukotonado: Edo Jocho no Eigaka Sonohoka: (My Thoughts: Creating Edo Culture in Film) by Director Kenji Mizoguchi. Nikkatsu Magazine June 1926 374 Appendix Five: Kanji Readings of Key Figures 378 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. i List of Figures Chapter One Figure 1, p.56. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. New York: Criterion. Figure 2, p.57. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. New York: Criterion Figure 3, p.58. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD].
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  • Films and Documentaries Catalog
    University of Pittsburgh University Center for International Studies Asian Studies Center Video and DVD Collection of the Asian Studies Teaching Resource Library (revised July 2019) Video Borrowing Policy: We do mail videos to teachers upon written request (either JAPAN Japan - Feature Films Title Year Description Film-Maker Length Level All About Lily Chou-Chou (DVD) 2005 A junior-high student's obsession with a singer, Lily Chou-Chou, Shunji Iwai 146 min 10-16+ cannot protect him from the harsh reality of his life. Note: contains dark themes that may warrant an R rating. Big Bird in Japan (VHS) 1991 A musical adventure - Big Bird and Barkley the Dog traveling Children's 60 min K-12 through Japan. Television Workshop Black Rain (VHS) 1988 This is a Cannes Film Festival award-winning movie about Shohei Imamura 123 min 13-16+ humanity and survival after the 1945 atomic horror of Hiroshima. The film chronicles the shocked survivors as they struggle with radiation sickness and rebuild their shattered lives. It is based on the book by Ibuse Masujii, History: World War II and Hiroshima. The Burmese Harp (DVD) 1956 The action takes place in Burma, where the Japanese army is Kon Ichikawa 116 min 9-16+ collapsing at the end of World War II. A soldier who plays the Burmese harp, after being wounded and separated from his combat unit, is nursed back to health. Check It Out, Yo! (DVD) Please 2006 Four friends on the island of Okinawa become bored with their Miyamoto, Rieko 117 min note: our copy is a “Region 2” lives, until one day they meet a beautiful woman at a hip-hop DVD.
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  • 1 a Noh Drama and Ozu's Late Spring Masako Nakagawa, Ph.D
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