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Building on and bringing up to date the material presented in the first installment of Directory of World Cinema: Japan, this volume continues the exploration of the enduring classics, cult favorites, and contemporary blockbusters of Japanese cinema with new contributions from leading critics and film scholars. Among the additions to this volume are in-depth treatments of two previously unexplored genres—youth cinema and films depicting lower-class settings—considered alongside discussions of popular narrative forms, including J-Horror, samurai cinema, anime, and the Japanese New Wave.

Accompanying the critical essays in this volume are more than 150 new film reviews, complemented by full-color film stills, and significantly expanded references for further study. From the Golden Age to the film festival favorites of today, Directory of World Cinema: Japan 2 completes this comprehensive treatment of a consistently fascinating national cinema.

Film of the Year

Sawako Decides

Festival Focus

JAPAN CUTS

Industry Spotlight

Interview with John Williams

Cultural Crossover

Japanese Cinema and Bunraku Puppetry

Japanese Cinema and Photography

Scoring Cinema

Kikujiro

Stardom and Cinema

Kinuyo Tanaka

Directors

Kiyoshi Kurosawa

Tetsuya Nakashima

Naoko Ogigami

Hiroshi Shimizu

Shuji Terayama

Alternative Japan

Anime / Animation

Chambara / Samurai Cinema

Contemporary Blockbusters

J-Horror / Japanese Horror

Jidai-geki / Period Drama

Nuberu bagu/ The Japanese New Wave

Seishun eiga / Japanese Youth Cinema

Shomin-geki / Lower Class Life

Yakuza / Gangster

Sujets

Directories

Película fotográfica

Reference

Japanese New Wave

Cinema of Asia

Japanese horror

History of film

Japan

Animation

J-Horror

Film

Informations

Publié par	Intellect Books
Date de parution	09 janvier 2012
Nombre de lectures	1
EAN13	9781841505985
Langue	English
Poids de l'ouvrage	6 Mo

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Volume 11
DIRECTORY OF WORLD CINEMA JAPAN2
Edited by John Berra
First Published in the UK in 2012 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2012 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2012 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Publisher: May Yao
Publishing Manager: Melanie Marshall
Cover photo: Shimotsuma Monogatari, Nakashima, Tetsuya, 2004. Amuse Pictures/The Kobal Collection
Cover Design: Holly Rose
Copy Editor: Heather Owen
Typesetting: Mac Style, Beverley, E. Yorkshire
Directory of World Cinema E-ISSN 2040-7971
Directory of World Cinema E-ISSN 2040-798X
Directory of World Cinema: Japan2 ISBN 978-1-84150-551-0
Directory of World Cinema: Japan2 eISBN 978-1-84150-598-5
CONTENTS
DIRECTORY OF WORLD CINEMA JAPAN2
Acknowledgements
Introduction by the Editor
Film of the Year
Sawako Decides
Festival Focus
JAPAN CUTS
Industry Spotlight
Interview with John Williams
Cultural Crossover
Japanese Cinema and Bunraku Puppetry
Japanese Cinema and Photography
Scoring Cinema
Kikujiro
Stardom and Cinema
Kinuyo Tanaka
Directors
Kiyoshi Kurosawa
Tetsuya Nakashima
Naoko Ogigami
Hiroshi Shimizu
Shuji Terayama
Alternative Japan
Essay
Reviews
Anime / Animation
Essay
Reviews
Chambara / Samurai Cinema
Essay
Reviews
Contemporary Blockbusters
Essay
Reviews
J-Horror / Japanese Horror
Essay
Reviews
Jidai-geki / Period Drama
Essay
Reviews
Nuberu bagu/ The Japanese New Wave
Essay
Reviews
Seishun eiga / Japanese Youth Cinema
Essay
Reviews
Shomin-geki / Lower Class Life
Essay
Reviews
Yakuza / Gangster
Essay
Reviews
Recommended Reading
Japanese Cinema Online
Test Your Knowledge
Notes on Contributors
Filmography
ACKNOWLEDGEMENTS
This second volume of the Directory of World Cinema: Japan is the result of the continued commitment of academics, critics, industry affiliates and the staff of Intellect Books to this pioneering film studies series. As such, I would like to take this opportunity to thank a number of people who have contributed to the volume, both internally and externally. The hard work and helpful assistance of these collaborators, colleagues and contacts is evident in the pages of the Directory of World Cinema: Japan 2, while I also to wish to acknowledge the continued efforts that have been made to increase academic and general awareness of the first volume since it was published in February, 2010.
I would like to thank Masoud Yazdani and May Yao at Intellect Books for the opportunity to edit this particular volume in the Directory of World Cinema series, publishing house staff James Campbell, Melanie Marshall and Holly Rose for your contributions to the production and promotion of the series, Matthew Blurton at Mac Style and everyone involved in the Directory of World Cinema series at University of Chicago Press. I would like to thank everyone who has contributed content to this volume and further details of these contributors can be found in the Notes on Contributors section. I hope that readers will use these biographical entries to become familiar with the work of these academics and film critics beyond, and in relation to, this project. In addition to writing essays and reviews for the Directory of World Cinema: Japan, these contributors have spent the past two years completing PhDs, teaching courses, organizing academic conferences, organizing film festivals, editing or writing books, maintaining websites, making films, reviewing films for print or online media, and various other activities associated with the field of film studies.
With regards to increasing awareness of the Directory of World Cinema: Japan, I would like to thank Alexander Zhalten, Mayu Sugaya and the staff of Nippon Connection who made me feel most welcome as a guest speaker at the 2010 festival. I would also like to thank Junko Takekawa of the Japan Foundation and Bill Lawrence of the Showroom Cinema, Sheffield, for offering me the opportunity to introduce screenings of films included in the Girls on Film: Females in Contemporary Japanese Cinema tour that was organized by the Japan Foundation in 2010. In terms of providing further engagement with those at student level, I must thank Spencer Murphy of Coventry University, Colette Balmain and the members of the Coventry University East Asian Film Society, with whom I collaborated on the Asia Exposure: East Asian Cinema in a Global Context symposium at Coventry University in February, 2011.
I would also like to thank my editors at various publications and websites who have provided a regular forum for the critical and cultural discussion of the cinema of East Asia, enabling my ongoing role as editor of the Directory of World Cinema: Japan to crossover with online and print media assignments. I am particularly grateful to Electric Sheep editor Virginie Selavy, Film International review section editor Liza Palmer, The Big Picture editor Gabriel Solomons and VCinema producer Jon Jung and his podcast co-hosts Josh Samford and Rufus L de Rham. I would also like to thank Chris MaGee and the writers of the Toronto J-Film Pow-Wow for supporting the volume through their website and related networks.
At industrial level, I would like to thank Adam Torel of Third Window Films, Joey Leung of Terracotta Distribution and the Terracotta Far East Film Festival, and Andrew Kirkham of 4Digital Asia and Silk Purse Enterprises. I would also like to thank writer-director-producer and 100 Meter Films CEO John Williams for not only being especially helpful with regards to my research of his fascinating film Starfish Hotel (2006) but also for taking the time to complete the insightful interview that can be found in the Industry Spotlight section of this volume.
On a very personal note, I would like to thank my lovely wife Meng Yan, parents Paul and Janet, my sister Becky, brother-in-law Neil, niece Evie, and my in-laws, Meng Zhao-quan and Wang Tieli. Finally, I would like to extend my deepest appreciation to Professor Lu Xiaoping of Nanjing University, who has made me feel very welcome as a Lecturer in Film Studies with the School of Liberal Arts since my appointment in September, 2010.
John Berra
INTRODUCTION BY THE EDITOR
At the time of writing this introduction to the second volume of the Directory of World Cinema: Japan, I am half-way through teaching an introductory-level Japanese Cinema course at Nanjing University. The course is rather ambitious in that it aims to cover the essential aspects of Japanese cinema in a largely chronological manner, an aim that is assisted by the generous eighteen-week teaching schedule. As the course is chronological, I have so far covered the silent era and the post-war period, with an emphasis on the films of Akira Kurosawa, Yasujiro Ozu, Mikio Naruse and Kenji Mizoguchi, and discussion of the genres of samurai, shomin-geki and yakuza with reference to their industrial prominence as the primary products of such major studios as Toho, Shochiku, and Nikkatsu. After assessing my students on this part of the course with an assignment based on Kurosawa s post-war classic Drunken Angel (Yoidore tenshi, 1948), I am about to embark on educating the class about the experimental - yet also commercially viable - endeavours of the Nuberu bagu (Japanese New Wave), arguably one of the most aesthetically invigorating movements in the history of cinema, not to mention one of the most fiercely charged in terms of its social-political content. This is, of course, a period of Japanese cinema that encompasses the works of such prolific mavericks as Shohei Imamura, Nagisa Oshima, Kaneto Shindo and Hiroshi Teshigahara, with the occasional intersection of such studio contract stalwarts as Kinji Fukasaku, Kon Ichikawa and Seijun Suzuki transporting the stylistic innovations of the movement into the mainstream with their artistic integrity intact. Revisiting these films - for teaching, research or just out of sheer enthusiasm for the movement - inevitably leads to the debate about the current state of independent cinema in Japan, and whether the directors of the digital underground or those operating on the fringes of the studio system are in any way comparable to the Nuberu bagu trailblazers.
As with many other cinematic revolutions, the Nuberu bagu was actually sponsored by the studio system; if the structure of the Japanese studio system was modelled on that of Hollywood, indicating Japan s reliance on the West in terms of creating its own corporate culture, then the investment in the formally-experimental and socially-incisive films of the Nuberu bagu shows the progressive potential of the Japanese film industry. With sufficient funds being allocated to enable director such as Imamura, Oshima, Susumu Hani and Toshio Matsumoto, these film-makers were able to shoot quickly and cheaply, relatively free from executive interference and able to move organically from project to project so that their creativity did not stagnate due to any prolonged development process. Oshima s tremendous output in 1960 - Cruel Story of Youth (Seishun zankoku monogatari), The Sun s Burial (Taiy no hakaba) and Night and Fog in Japan (Nihon no yoru to kiri) - was made possible by the resources offered by Shochiku, who were seeking to capitalize not only on the burgeoning youth market but also to reach those socially-conscious audiences that enjoyed European imports and would also be receptive to Japanese equivalents to such ideologically provocative material. Further support to these film-makers was offered by the Art Theatre