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]. New York: Criterion Figure 4, p.60. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. New York: Criterion Figure 5, p.65. Gion Bayashi (1953). Masters of Cinema Collection. (2007) [DVD]. London: Eureka Entertainment Figure 6, p.67. Fusuma at Ninna-ji Temple. Retrieved 16th April, 2011 from www.yunphoto.net/en/ (c) Tomo Yun Figure 7, p.67. Byōbu at the Folding Screen Festival, Shimogyo, Kyoto. Retrieved 16th April, 2011 from 晴れ、ときどき Kyoto Life. http://yamagamin.iza.ne.jp Figure 8, p.67. Koyomi displayed at 大阪市立科学館Retrieved 16th April, 2011 from http://www.sci-museum.kita.osaka.jp/~kazu/museum/museum-3/museum3.html Chapter Two Figure 9, p.87. Chi to Rei (1923). Picture courtesy of Saso Tsutomu Figure 10, p.91. Asahi wa Kagayaku (1929). 東京国立近代美術館－フィルムセンター Figures 11, 12 and 13, pp.106-107. Examples of Miki’s photography from Orizuru Osen (1935). Talking Silents 2. Digital Meme (2007) [DVD]. Tokyo, Matsuda Film Productions Chapter Three Figure 14, p.124. Taki no Shiraito (1933). Talking Silents 1. Digital Meme (2007) [DVD]. Tokyo, Matsuda Film Productions ii Figure 15, p.125. Taki no Shiraito (1933). Talking Silents 1. Digital Meme (2007) [DVD]. Tokyo, Matsuda Film Productions Figure 16, p.151. Meito Bijomaru (1945). (2006) [DVD]. Tokyo, Shochiku Home Video Figure 17, p.153. Meito Bijomaru (1945). (2006) [DVD]. Tokyo, Shochiku Home Video Figure 18, p.153. Meito Bijomaru (1945). (2006) [DVD]. Tokyo, Shochiku Home Video Figure 19, p.157. Meito Bijomaru (1945). (2006) [DVD]. Tokyo, Shochiku Home Video Figure 20, p.157. Meito Bijomaru (1945). (2006) [DVD]. Tokyo, Shochiku Home Video Figure 21, p.157. Meito Bijomaru (1945). (2006) [DVD]. Tokyo, Shochiku Home Video Figure 22, p.160. Meito Bijomaru (1945). (2006) [DVD]. Tokyo, Shochiku Home Video Chapter Four Figure 23, p.165. Kakejiku and tokonoma. Picture taken by author Figure 24, p.170. Utamaro o Meguru Gonin no Onna (1946). (2006) [DVD]. Tokyo: 松竹ホ ームビデオ Figure 25, p.170. Yoru no Onnatachi (1948). (2006) [DVD]. Tokyo: 松竹ホームビデオ Figure 26, p.170. Saikaku Ichidai Onna (1952). (2004) [DVD]. Artificial Eye: London Figure 27, p.170. Ugetsu Monogatari (1953). (2005) [DVD]. New York: Criterion Figure 28, p.170. Sansho Dayu (1954). Masters of Cinema Collection (2007) [DVD]. London: Eureka Entertainment Figure 29, p.170. Uwasa no Onna (1954). Masters of Cinema Collection (2008) [DVD]. London: Eureka Entertainment Figure 30, p.175. Gion no Shimai (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. New York: Criterion Figure 31, p.182. 喜多川 歌麿 . 入浴美人図（寒泉浴図）MOA Museum of Art, Atami, Shizuoka Figure 32, p.191. Musashino Fujin (1951). (2006) [DVD]. Tokyo: 東宝 Figure 33, p.192. Musashino Fujin (1951). (2006) [DVD]. Tokyo: 東宝 iii Chapter Five Figure 34, p.225. Saikaku Ichidai Onna (1952). (2004) [DVD]. London: Artificial Eye Figure 35, p.229. Saikaku Ichidai Onna (1952). (2004) [DVD]. London: Artificial Eye Figure 36, p.229. Saikaku Ichidai Onna (1952). (2004) [DVD]. London: Artificial Eye Figure 37, p.232. Saikaku Ichidai Onna (1952). (2004) [DVD]. London: Artificial Eye Figure 38, p.235. Saikaku Ichidai Onna (1952). (2004) [DVD]. London: Artificial Eye Figure 39, p.236. Saikaku Ichidai Onna (1952). (2004) [DVD]. London: Artificial Eye Chapter Six Figure 40, p.273. Noh Mask Image retrieved July 16, 2007 from www.japanesetheatrical.co.jp/noh_mask_image.jpg and Figure 41, p.273. Ugetsu Monogatari (1953). (2005) [DVD]. New York: Criterion Figure 42, p.275. Ugetsu Monogatari (1953). (2005) [DVD]. New York: Criterion Figure 43, p.277. Ugetsu Monogatari (1953). (2005) [DVD]. New York: Criterion Figure 44, p.280. Uwasa no Onna (1954). Masters of Cinema Collection (2008) [DVD]. London: Eureka Entertainment Figure 45, p.281. Uwasa no Onna (1954). Masters of Cinema Collection (2008) [DVD]. London: Eureka Entertainment Figure 46, p.282. Uwasa no Onna (1954). Masters of Cinema Collection (2008) [DVD]. London: Eureka Entertainment Figure 47, p.285. Uwasa no Onna (1954). Masters of Cinema Collection (2008) [DVD]. London: Eureka Entertainment iv Notes on Translation Japanese names are presented in Japanese order, surname followed by first name. Where an individual is historically known by their first name (as in the case of the author Izumi Kyoka), I have carried on this tradition. The first time a Japanese film is referenced, the title will be in romaji followed by the most commonly known English translation. Thereafter, the film will be referred to only in romaji. Macrons are used to indicate extended vowel sounds in Japanese words which are less familiar in the English language. As many Japanese cities, regional locations, film titles and Japanese names have become more common in English, for these macrons are not used. The less common words have also been underlined. In-text quotations which were originally in Japanese and all translated titles in the bibliography have been translated by Asano Reiko. She also transcribed and translated all interview material. The filmography and the list of key names were compiled and translated by Takahashi Marika and include Japanese titles in both romaji and kanji. Titles are followed by the most commonly acknowledged English translation. No English translation is provided if either the film is unknown in the west or when the Japanese title is commonly referred to in English language (e.g. Nihonbashi, Ugetsu Monogatari). v Because there are numerous ways to read Japanese names, the list of kanji is an essential addition for Japanese readers of the thesis. The kanji used for many of the pre-war names have been updated accordingly. All translated material has been checked and confirmed by the author. In the case of the more ambiguous material, in-depth discussions have taken place with Miss Asano and Miss Takahashi to confirm contextual meaning. The thesis contains passages of film dialogue. Where appropriate, these passages are in English and Japanese. This is used to highlight important issues such as social status which can be read in the Japanese text. Where more direct language is used, the Japanese has not been included. vi Acknowledgements There are many people who have made this work possible. I would like to start by thanking my family, my mother, Pat and Jim Cole and Yōji and Chiemi Asano. Their belief in me has inspired every word of this project and I am forever grateful. I would also like to thank my colleagues in the School of Creative Arts, Film and Media at the University of Portsmouth, especially Dr. Esther Sonnet, Dr. Deborah Shaw, and the faculty librarian Greta Friggens. Also, special thanks to Professor Sue Harper who always had confidence in me and my work. Thanks must also be extended to the staff at the library of the British Film Institute in London who always went out of their way to help me find the most obscure material. Much of my research was carried out in Japan and without the translation skills of Asano Reiko and Takahashi Marika, much of the original Japanese material contained in this thesis would not be present. Their professionalism and attention to detail was second to none, and I am eternally grateful. The staff at the National Film Centre in Tokyo, the Hiroshima Library and the Kyoto Film Centre, whose knowledge and dedication made every visit a pleasure. Thanks also must go to the Oshima Noh family in Fukuyama City, the staff at the Film History Museum in vii Onomichi, the Matsuda Silent Film Society, and the exceptionally talented Mie Yanashita. I would also like to extend a special thank you to Midori Sawato for the remarkable interview she gave and her encouragement and belief in this project. There are three individuals who, for my academic achievements thus far, I owe everything. Dr. Dave Allen has constantly encouraged me since my early days as an undergraduate student at the University of Portsmouth. He has always been available to give help and advice when needed and I offer my heartfelt thanks. In Japan, Tsutomu Saso has continually taken time to offer his incredible knowledge about Kenji Mizoguchi and Japanese film history. In terms of scholarship in the field, there is no other individual as knowledgeable and I am extremely fortunate to have had his assistance.