By Donald Richie
Completely revised and up to date, the newest variation of this authoritative quantity by means of Donald Richie, the most important Western professional on eastern movie, offers us an incisive, specified, and entirely illustrated historical past of the country's cinema.
Called "the dean of Japan's arts critics" via Time journal, Richie takes us from the inception of eastern cinema on the finish of the 19th century, in the course of the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the outstanding works of latest filmmakers. This revised version comprises analyses of the newest tendencies in jap cinema, similar 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 situations of movie construction (something filmmakers recognize rather well yet historians frequently fail to remember) . . . and indicates the interweave of filmmaking—the contributions of administrators, writers, cinematographers, actors, musicians, artwork administrators, in addition to financiers."
Of fundamental curiosity to those that wish to watch the works brought in those pages, Richie has supplied pill experiences of the most important subtitled eastern movies 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 additionally vintage motion pictures on hand in those codecs for the 1st time.
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Additional resources for A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos
This it did-though not always an excessively cheerful one. In fact, though Kido gathered around him some of the best directorial talent of the posteartlrqu ake eru, he could not, despite rnany efforts, impose such facile restrictions 0n directors as varied and as talented as Gosho Heinosuke, Shirnazu Yasujiro, Shimizu Hiroshi, Ozu Yasujiro, and then Naruse Mikio, YoshimuraKozaburo,Oba Hideo, and Kinoshita Keisuke. These directors all went on to make serious films, and by n0 means did most of their work fit the ideals of the "Kamatastyle," thatsobriquet under which Kido envisioned his salvationist product.
Indeed, the Japanese audience was very late in accepting the assurrptions of tlre teclrnique. ) actually provoked laughter in Japan. Irr the same way, the initialJapanese flashback-usually ascribed to a 1909 M. )-was used not so much to explain as to decorate the storyline. In The Cuckoo, the viewer need not know that the heroine had been previously victimizedby a nan. The flashback is not ernployed to elucidate the present by reference to the past but rather, as inJapanese poetT, to suggest a;sarallel.
In lg13,KaeriyamabeganJapan's azirrc. 12 : the product of that tirne. Since filrl was a silent medium, he argued, a narration was neces- sary in order to make the result comprehensible. Yet, if a script could be designed for a purely cinematic presentation (that is, without benshi) and titles were inserted only where llecesszry, fihns would be widely understood by everyone. In his opinion, films that needed off- screen narration were devoid of any value, nor was the capturing of stage dramas from an unmoving frontal position what he considered cinema.