DOCSLIB.ORG

Damon Thomas Lee Dissertation 2006 Vol 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Damon Thomas Lee Dissertation 2006 Vol 2 THE FILM MUSIC OF TÔRU TAKEMITSU Part II A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts by Damon Thomas Lee May 2006 © 2006 Damon Thomas Lee THE FILM MUSIC OF TÔRU TAKEMITSU Damon Thomas Lee, D.M.A. Cornell University 2006 Selections from Takemitsu's film-music output are used as examples in this analysis on music placement in film. Music gives information to the viewer, but the opinions and theories about what this information is and what its function is, have not been entirely sorted out. It is clear that film-music represents, but what does it represent, and how does it represent? Using Takemitsu as the subject of this study presents the opportunity to consider this unique figure's diverse and prolific film- music output in the larger context of Japanese cinema at a highpoint. The collaborating filmmakers allowed an unusual level of compositional freedom, resulting in films with exceptional and unusual film-scores. BIOGRAPHICAL SKETCH Born in Lansing, Michigan, Damon Thomas Lee received his Bachelor of Music Degree in Composition from the Eastman School of Music in 1997. His teachers include Sandeep Bhagwati, David Liptak, Robert Morris, Michael Pagan, Wolfgang Rihm, Christopher Rouse, Joseph Schwantner, Allan Schindler, Roberto Sierra, and Steven Stucky. The recipient of numerous composition awards for concert music, he has also been active as a multi-media artist, engaged in creating both music and image. To this end, he has been artist-in- residence and guest artist at Klangraum in Krems, Austria, and ZKM (the Center for Art and Media Technology) in Karlsruhe, Germany, where he now resides. Many of these works produced during this time - and earlier as a Humboldt “Chancellor Scholar” and research fellow (Baden-Württemberg Landesgraduiertenförderungspreise) - were “Official Selections” in various film festivals in Munich, Paris, and Manila, among others. iii ACKNOWLEDGMENTS I would like to thank: the Takemitsu family; the staff at the Kawakita Film Institute, in particular Yukako Sakano and Yukiko Wachi, for their assistance in locating prints of hard-to-find films and for providing viewing space; the Asian Cultural Council, whose financial support made research in Japan possible; George Kochi and Misao Bojo of the Asian Cultural Council for arranging all the contacts during my time in Tokyo, and whose work enabled me to come closer to people who intimately knew Takemitsu; Yukako Sano, for translation and explanations; the Takada family, for being a very nice host family during my first week in Tokyo, and for teaching me kanji every day after breakfast; Christopher Yohmei Blasdale and Donald Richie at the International House, for insight, documents, and friendship; composer and one-time assistant to Takemitsu, Shin-ichiro Ikebe; Professor Inuhiko Yomota; Kimiko Shimbo of the federation of Japanese Composers; new acquaintances Peter Grilli and Peter Burt; in Germany, composer Florian Appl for additional references and discussion, my colleagues at the ComputerStudio, Institüt für neue Musik und Medien, Professor Doktor Thomas A. Troge and Rainer Lorenz for their patience and understanding during the writing phase of this dissertation and additional problem-solving in the programming phase for the software Film-Music-Tools, written for this dissertation; and last, but not least, my committee at Cornell University: Roberto Sierra (Chair), Steven Stucky, and Martin Hatch for their guidance and mentorship during the whole of my experience at Cornell and afterwards. iv TABLE OF CONTENTS CHAPTER 1....................................................................................................... 1 INTRODUCTION............................................................................................... 1 1.1 TAKEMITSU IN NUMBERS ............................................................................... 1 1.2 AVAILABLE MEDIA...................................................................................... 4 1.3 PATCH NOTES............................................................................................ 6 1.4 SOFTWARE ................................................................................................ 9 2 CATEGORIZATIONS OF MUSIC-FUNCTIONS............................................. 14 2.1 RASHOMON ............................................................................................ 18 2.2 SYSTEM SUMMARY .................................................................................... 21 2.3 DESCRIPTION MODELS .............................................................................. 23 2.4 A FEW SCENES ........................................................................................ 27 3 TAKEMITSU.................................................................................................. 29 3.1 POST-WAR EXPERIMENTAL FILMMAKING ...................................................... 35 3.2 ON HAYASAKA'S INFLUENCE ...................................................................... 36 4 FILM ANALYSES .......................................................................................... 38 4.1 SHOHEI IMAMURA..................................................................................... 38 Black Rain (1989) .................................................................................. 38 The Cues ............................................................................................ 39 Part One, Cues 1 through 8 ............................................................. 40 Part Two, Cues 9 through 15 ............................................................ 41 4.2 NAGISA OSHIMA ..................................................................................... 45 THE CEREMONY (1971).................................................................................. 47 v The Cues ............................................................................................ 49 THE FIVE FLASHBACKS ..................................................................................... 52 4.3 MASAHIRO SHINODA ................................................................................ 53 Gonza the Spearman (1986)............................................................... 54 The Cues ............................................................................................ 57 4.4 KOBAYASHI MASAKI ................................................................................. 63 Harakiri (1962) ....................................................................................... 64 The Cues ............................................................................................ 67 Samurai Rebellion (1967) ..................................................................... 76 The Cues ............................................................................................ 78 4.5 AKIRA KUROSAWA ................................................................................... 85 Ran (1985) ............................................................................................. 87 The Cues ............................................................................................ 90 4.6 CONCLUSIONS ........................................................................................ 97 Transformations: ................................................................................ 98 5 ENDING .................................................................................................... 101 APPENDIX I.................................................................................................. 103 I. FROM LISSA’S ÄSTHETIK DER FILMMUSIK (1965) .............................................. 103 S. Kracauer .......................................................................................... 107 J. Plazewski .......................................................................................... 107 Tschermuchin ...................................................................................... 107 Z. Lissa: ................................................................................................. 108 II. OTHER TEXTS ............................................................................................ 109 APPENDIX 2................................................................................................. 114 BLACK RAIN................................................................................................ 115 vi HARAKIRI.................................................................................................... 117 THE CEREMONY ........................................................................................... 120 RAN ........................................................................................................... 123 GONZA THE SPEARMAN ................................................................................ 127 SAMURAI REBELLION.................................................................................... 130 ILLUSION OF BLOOD ..................................................................................... 133 PUNISHMENT ISLAND..................................................................................... 136 THE MAN WITHOUT A MAP............................................................................ 138 THE PRINCESS GOHIME ................................................................................
Load more

Recommended publications
  • 02 Main Catalogue Front
    SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1986 | Japanese | 35mm | Colour | 126min Director Shinoda Masahiro Producer Iwashita Kiyoshi, Motomochi Masayuki, Wakita Masatake Scriptwriter Tomioka Taeko Cinematographer Miyagawa Kazuo Editor Yamaji Sachiko Production designer Awazu Kiyoshi Music Takemitsu Toru Sound Yoshida Shotaro Cast Go Hiromi, Iwashita Shima, Hino Shohei Production Hyogensha, Shochiku World Sales Shochiku Co., Ltd. ©1986 Hyogensha Inc./ Shochiku Co., Ltd. ©1999 Shochiku Co., Ltd./ Kadokawa Shoten Publishing Co., Ltd./ BS Asahi/ IMAGICA Inc./ Eisei Gekijo Co., Ltd. Gonza the Spearman Yari no gonza 槍聖權三 “The medieval world seen through Chikamatsu’s drama is a world [影評摘錄] which cannot be dealt with using modern standards of logicality. I 「近松門左衛門淨瑠璃劇裏的中古世界，是一個不能以 have become interested in such a world.” 現代邏輯丈量的世界。對此世界，我愈來愈感興趣。」 Masahiro Shinoda’s own words testify to his continuing obsession 篠田正浩的話，可見他對近松門左衛門筆下封建社會一 with the feudal world of Monzaemon Chikamatsu. As mentioned 直深深着迷。篠田對近松門的神迷，可回溯至《心中天 earlier, the first evidence of Shinoda’s fascination with Chikamatsu 網島》。其風格實驗從歌舞伎及文樂取經，探索近松門 dates back to 1969 when he made Double Suicide. Experimenting 身處封建社會的庶民生活中，「義理」與「人情」間的 with stylistics borrowed from Kabuki and Bunraku both, he explored 典型矛盾。 the classical conflict between giri (social obligation) and ninjo 有別於低成本黑白片《心中天網島》，《槍聖權三》極 (personal inclination) in the lives of commoners in the feudal society 盡華麗。武士大宅裝潢細緻考究。在嚴謹場面調度下， in which Chikamastsu himself lived… 人物一舉一動呈現生活（與死亡）的每個方面皆被需求 Unlike his low-budget black and white Double Suicide, Gonza the 所操控。影評人佐藤忠男觀察到角色的鞠躬、問候甚至 Spearman is given full luxury treatment. The samurai mansion is 比劍，皆依隨精密計算的節奏，亦反映歌舞伎張弛有度 decorated with scrupulous attention to detail. Characters move 的風格：演員在動作中突然停頓，示意行動導致決定性 in this rigorously formalised setting in ways that show how every 結果。就好像生命只跟從既定動作，無任何空間讓個人 aspect of daily life (and death) were controlled by its demands.
    [Show full text]
  • Chapter Two Internationalization of Japanese Cinema How Japan Was Different from the West and Above Asia Before Globalization
    Chapter Two Internationalization of Japanese Cinema How Japan Was Different from the West and above Asia before Globalization With the end of the war — which to the Japanese of that period really meant the end of a way of life — the coming of the Occupation, the resultant restrictions, and the related difficulties within the industry, one might think that the films of the period would have, at best, merely reflected the confusion of the era. That they reflected something much more is another proof of the often amazing resilience of the Japanese people and of their ability to fashion something uniquely Japanese from the most diverse of foreign ideas. (Anderson and Richie 1982 [1959]: 174) Two days after the signing of the San Francisco Peace Treaty, on 10 September 1951, Akira Kurosawa’s Rashomon won the grand prize (Golden Lion) at the Venice Film Festival. This victory came as a big sur- prise to American-occupied Japan (Anderson and Richie 1982 [1959]: 233) and when the news spread Kurosawa became a national hero overnight. This was a key event, which helped to restore national con- fidence among the war-defeated Japanese (Sato 1995b: 233). Rashomon was internationally distributed by RKO, a major Hollywood company, and received an American Academy Award the following year. Most importantly, this event symbolized Japan’s return to the international community, and kick-started a phase of internationalization of Japanese cinema and the Japanese film industry. The international success of Rashomon put Japanese critics under pressure to explain why this film, largely ignored by domestic audi- ences and critics alike, was so highly praised in the West.
    [Show full text]
  • Beneath the Surface *Animals and Their Digs Conversation Group
    FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you.
    [Show full text]
  • Title Call # Category
    Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine
    [Show full text]
  • Re-Imagining Animation the Changing Face of The
    RiA cover UK AW.qxd 6/3/08 10:40 AM Page 1 – – – – – – Chapter 05 Chapter 04 Chapter 03 Chapter 02 Chapter 01 The disciplinary shift Approaches and outlooks The bigger picture Paul Wells / Johnny Hardstaff Paul Wells Re-imagining Animation RE-IMAGINING RE-IMAGINING ANIMATION ANIMATION – The Changing Face of the Moving Image The Changing Face Professor Paul Wells is Director of the Re-imagining Animation is a vivid, insightful Re-imagining Animation Other titles of interest in AVA's Animation Academy at Loughborough and challenging interrogation of the animated addresses animation’s role at the heart THE CHANGING THEAcademia CHANG range include: University, UK, and has published widely film as it becomes central to moving image of moving-image practice through an in the field of animation, including practices in the contemporary era. engagement with a range of moving-image Visible Signs: The Fundamentals of Animation and Animation was once works – looking at the context in which FACE OF THE FACEAn introduction OF to semiotics THE Basics Animation: Scriptwriting. constructed frame-by-frame, one image they were produced; the approach to their following another in the process of preparation and construction; the process of Visual Research: Johnny Hardstaff is an internationally constructing imagined phases of motion, their making; the critical agenda related to MOVING IMAGE MOVINGAn introduction to research IM established, award-winning designer, film- but now the creation and manipulation the research; developmental and applied methodologies in graphic design maker and artist. He is the creator of The of the moving image has changed. aspects of the work; the moving-image History of Gaming and The Future of With the digital revolution outcomes; and the status of the work within Visual Communication: Gaming, and innovative popular music videos, invading every creative enterprise and form contemporary art and design practices.
    [Show full text]
  • HART1023 Introduction to Experimental Animation (1 Credit)
    2021-22 Fall HART1023 Introduction to Experimental Animation (1 Credit) Course Instructor: Mr Jamsen Law ([email protected] ) Program Officer: Ms Vickie Wong ([email protected]) Time: Mondays; 10:30am – 12:20 pm Venue: E-Learning classroom A (LG1) Office Hours: By appointment Course Description This introductory course aims at guiding students to explore the art of animation through producing drawing, cut-ups, roto-scoping, photographic and object animation with both digital and traditional tools. By introducing non-mainstream techniques and mediums for creating time-based imagery, students will learn both practical skills and theories of animation as a visual art form for artistic expression and communication. Through brief lecturing, students will acquaint themselves with the history and development of experimental animation and its influences to moving image arts in general. The hands-on activities will allow students to explore freely the principles of animation starting from pencil and paper to digital software and tools. Intended Learning Outcomes Upon completion of this course, students are expected to be able to: 1. Describe and appreciate the history and development of experimental animation 2. Identify and explain the stylistic and narrative elements of experimental animation 3. Develop abstract ideas into experimental animation works 1 Course Syllabus and Schedule Lesson Date Topic ILO(s) Part 1 : Pre-cinema visual media 1 6 Sep Topic: Introduction 1,2 • What is experimental and mainstream animation • What are the tools and materials
    [Show full text]
  • Download the Monthly Film & Event Calendar
    SAT 2:00 Film SAT 7:00 Film SAT 7:00 Film 4:00 Film Hale County Ugetsu. T3 Suzakumon. T2 The Devil’s Temple. Film & Event Calendar 7 This Morning, This 14 21 T2 Events & Programs 7:00 Film 10:20 Family Evening. T1 10:20 Family 10:20 Family WED An Evening with 6:30 Film Gallery Sessions Explore This! Activity Stations Tours for Fours. Tours for Fours. Tours for Fours. 4:30 Film Shannon Plumb. T2 Gonza the Spearman. Daily, 11:30 a.m. & 1:30 p.m. Sat, Apr 7 & Sun, Apr 8, Education & Education & Education & 25 The Nothing Factory. T2 Museum galleries 1:00–3:00 p.m. Floor 5 Research Building Research Building Research Building 1:30 Film T2 Mr. Blandings Builds 7:00 Film Join us for conversations and Explore art through fun and 10:20 Family 10:20 Family 10:20 Family His Dream House. T2 In the Last Days of activities that offer insightful and engaging activities for all ages. A Closer Look for MON A Closer Look for A Closer Look for SUN WED the City. T1 unusual ways to engage with art. Kids. Education & Kids. Education & Kids. Education & 4:30 Film Free with admission 1 4 Research Building 9 Research Building Research Building Gonza the Spearman. Limited to 25 participants SUN See moma.org for TUE T2 Family Films: Yum! Films 10:20 Family 7:30 Event 1:00 Family 1:30 Film 12:00 Family up-to-date listings. 29 Art Lab: Nature About Food Tours for Fours.
    [Show full text]
  • Hiro Club News No
    ＨＩＲＯ ＣＬＵＢ ＮＥＷＳ For your cultural life in Hiroshima Shôgi (Japanese chess) 将棋 Shôgi ranks with Go among the traditional games of Japan. Two players take turns moving pieces on a board with 81 squares; the first to capture the opponent’s king wins. Not only it is popular game but there are also official rankings set by the Japan Shôgi Federation. Shôgi is very similar to chess. It is believed that both go back to the same Indian game which traveled to the West through Persia to become the basis of chess. Introduced into Japan through China around the 8th century, special rules were added, and it became what we now call shogi. The pieces are five-sided oblong tiles with the name of each piece in black characters on the face and red on the back. A special feature is that players can use captured pieces, setting them down anywhere on the board. Therefore you have to anticipate what the other player will do with a captured piece. Pieces that reach the opponent’s territory can be turned over and used in advantageous ways. <Pieces and how they are moved> è Ôshô (王将): One. Backward, forward, left, right and diagonally, one square at a time (like the king in chess) è Hisha (飛車): One. Backward, forward, left and right (like the rook) è Kakugyô (角行): One. Diagonally (like the bishop) è Kinshô (金将): Two. Diagonally in any direction except backwards, one square at a time. è Ginshô (銀将): Two. Forward, and diagonally one square at a time. è Keima (桂馬): Two.
    [Show full text]
  • Masaki Kobayashi: KWAIDAN (1965, 183M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    March 10, 2020 (XL:10) Masaki Kobayashi: KWAIDAN (1965, 183m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Directed by Masaki Kobayashi Writing Credits Yôko Mizuki (screenplay), Lafcadio Hearn (novel) (as Yakumo Koizumi) Produced by Takeshi Aikawa, Shigeru Wakatsuki Music by Tôru Takemitsu Cinematography by Yoshio Miyajima Film Editing by Hisashi Sagara The film won the Jury Special Prize and was nominated for the Palme d’Or at the 1965 Cannes Film Festival and was nominated for an Oscar for Best Foreign Language Film at the 1966 Academy Awards. CAST for the Palme d'Or at Cannes, and Samurai Rebellion “The Black Hair” (1967), and Kwaidan (1964), for which he, once again, Michiyo Aratama…First wife both won the Jury Special Prize and was nominated for the Misako Watanabe…Second Wife Palme d’Or. He was also nominated for the Palm d’Or for Rentarō Mikuni…Husband Nihon no seishun (1968). He also directed: Youth of the Son (1952), Sincerity (1953), Three Loves* (1954), “The Woman of the Snow” Somewhere Under the Broad Sky (1954), Beautiful Days Tatsuya Nakadai…Minokichi (1955), Fountainhead (1956), The Thick-Walled Room Jun Hamamura…Minokichi’s friend (1956), I Will Buy You (1956), Black River (1957), The *Keiko Kishi…the Yuki-Onna Inheritance (1962), Inn of Evil (1971), The Fossil (1974), Moeru aki (1979), Tokyo Trial* (Documentary) (1983), “Hoichi” and Shokutaku no nai ie* (1985).
    [Show full text]
  • Masaki Kobayashi: HARAKIRI (1962, 133M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    October 8, 2019 (XXXIX: 7) Masaki Kobayashi: HARAKIRI (1962, 133m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Masaki Kobayashi WRITING Shinobu Hashimoto wrote the screenplay from a novel by Yasuhiko Takiguchi. PRODUCER Tatsuo Hosoya MUSIC Tôru Takemitsu CINEMATOGRAPHY Yoshio Miyajima EDITING Hisashi Sagara The film was the winter of the Jury Special Prize and nominated for the Palm d’Or at the 1963 Cannes Film Festival. CAST Tatsuya Nakadai...Tsugumo Hanshirō (1979), Tokyo Trial* (Documentary) (1983), and Rentarō Mikuni...Saitō Kageyu Shokutaku no nai ie* (1985). He also wrote the screenplays Akira Ishihama...Chijiiwa Motome for A Broken Drum (1949) and The Yotsuda Phantom Shima Iwashita...Tsugumo Miho (1949). Tetsurō Tamba...Omodaka Hikokuro *Also wrote Ichiro Nakatani...Yazaki Hayato Masao Mishima...Inaba Tango SHINOBU HASHIMOTO (b. April 18, 1918 in Hyogo Kei Satō...Fukushima Masakatsu Prefecture, Japan—d. July 19, 2018 (age 100) in Tokyo, Yoshio Inaba...Chijiiwa Jinai Japan) was a Japanese screenwriter (71 credits). A frequent Yoshiro Aoki...Kawabe Umenosuke collaborator of Akira Kurosawa, he wrote the scripts for such internationally acclaimed films as Rashomon (1950) MASAKI KOBAYASHI (b. February 14, 1916 in and Seven Samurai (1954). These are some of the other Hokkaido, Japan—d. October 4, 1996 (age 80) in Tokyo, films he wrote for: Ikiru (1952),
    [Show full text]
  • Masaki Kobayashi / Kwaidan (Kaidan), Japon 1965, 120 Minutes]
    Document generated on 10/03/2021 9:11 a.m. Séquences La revue de cinéma 1965, Kwaidan Masaki Kobayashi Kwaidan (Kaidan), Japon 1965, 120 minutes Carlo Mandolini Cannes 50 ans Number 189-190, 1997 URI: https://id.erudit.org/iderudit/49351ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Mandolini, C. (1997). Review of [1965, Kwaidan : masaki Kobayashi / Kwaidan (Kaidan), Japon 1965, 120 minutes]. Séquences, (189-190), 35–35. Tous droits réservés © La revue Séquences Inc., 1997 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Canne5°s I965 -^ans KWAIDAN Masaki Kobayashi a richesse de ce film, et ce qui explique pourquoi - encore Diplômé d'histoire de Palme d'or: The Knack., aujourd'hui - Kwaidan demeure un film absolument enivrant, ré­ l'art oriental et de philoso­ and How to Get It side dans le fait que Kobayashi a su créer une œuvre cinématogra­ phie, Kobayashi s'est tou­ L (Richard Lester) GB phique totale. Vu dans de bonnes conditions, le film exalte autant la vue jours intéressé à l'étude des mœurs et des codes moraux que l'ouïe.
    [Show full text]
  • The Insect Woman – Contextualising Imamura (And The
    University of Gothenburg Faculty of Humanities The Insect Woman – Contextualising Imamura (and the Intricacies of Global Cinema Study) Bachelor’s thesis in film studies by Noak Snow Gröning Presented spring term 2018 Tutor: Anna Backman Rogers Course: FL1801 Index 1. Abstract 3 2. Introduction 4 3. Purpose, Issues and Demarcations 6 4. Further Context 9 5. Earlier Research and Fields of Study 10 6. Theoretical Frameworks 10 7. Materials and Methods 18 8. Disposition and Historical Context 19 9.1 Analysis – Story Summary 25 9.2 Analysis – Themes and Aesthetic 29 9.3 Analysis – The Insect Woman and Early Summer 32 10. Conclusion 36 11. References 39 2 1. Abstract This essay represents an attempt to further the understanding of the films by Japanese New Wave director Shohei Imamura through the use of post-colonial theory, and political and cultural contextualisation; it also offers discussion on the inherent issues of discussing non- Western cinema from a Western point-of-view, and how post-colonial theory can be used tentatively by Western writers to prevent the perpetuation of orientalism and the generalisation of non-Western cultures as a single entity simply titled ‘the Other’. This is done through an in-depth exploration of Western film theory’s problematic relationship to Asian cinema, along with disposition and historical contextualisation relevant to Imamura’s films and the Japanese New Wave movement of the 1960s. This is then followed by an analysis on Imamura’s sixth film, The Insect Woman, released in 1963, in which I implement post-colonial theory while also comparing it to Yasujiro Ozu’s 1951 motion picture Early Summer, a film which addresses similar themes but in widely different ways.
    [Show full text]