By Donald Richie
Completely revised and up to date, the most recent variation of this authoritative quantity through Donald Richie, the main Western specialist on eastern movie, provides us an incisive, exact, and entirely illustrated background of the country's cinema.
Called "the dean of Japan's arts critics" via Time journal, Richie takes us from the inception of jap cinema on the finish of the 19th century, in the course of the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the amazing works of up to date filmmakers. This revised version contains analyses of the most recent developments in eastern cinema, resembling 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 forget) . . . and indicates the interweave of filmmaking—the contributions of administrators, writers, cinematographers, actors, musicians, artwork administrators, in addition to financiers."
Of basic curiosity to those that want to watch the works brought in those pages, Richie has supplied pill experiences of the key subtitled jap movies commercially on hand in DVD and VHS codecs. This advisor has been up-to-date to incorporate not just the simplest new motion picture releases, but in addition vintage movies to be had in those codecs for the 1st time.
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Additional info 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.
Reconbined in a style sirnilar to that of profitable Intoluance. The main story, two ex-cons on tlre road, was culled from the shingeki adaptation of Maxim Gorky's The Lower Depths; the wastrel son who returns home with wife and child is from a story called "Children of the Streets" by aonce-popular Gerrnan author named Wilhelm Schmidtbaum; and the pastoral romance between the daughter of the house and a working-class youth owes much to the Bluebird Photoplays. The title that opens and closes the picture is a pious quotation from the Gorky drama: "W€, as human beings, must have pity for those about us.
It was rather that they were not insisted upon and that, when included, they appeffed cornprornised (to Western eyes) by a stagey artificiality. The documentary, with its almost ostentatious lack of presentation and its tacit assump- tions of representation, became influential in Japan much later than it had in other countries. Indeed, it was not until the Russo-Japanese War of 1904-05 that newsreels of an event showed \arge audiences docurnentary footage, thereby preparing the way for a wider reception of a more representational and less presentational cinema.