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Description

From the revered classics of Akira Kurosawa to the modern marvels of Takeshi Kitano, the films that have emerged from Japan represent a national cinema that has gained worldwide admiration and appreciation. Directory of World Cinema: Japan provides an insight into the cinema of Japan through reviews of significant titles and case studies of leading directors, alongside explorations of the cultural and industrial origins of key genres. As the inaugural volume of an ambitious series from Intellect documenting world cinema, the directory aims to play a part in moving intelligent, scholarly criticism beyond the academy by building a forum for the study of film that relies on a disciplined theoretical base. It takes the form of an A–Z collection of reviews, longer essays and research resources, accompanied by fifty full-colour film stills highlighting significant films and players. The cinematic lineage of samurai warriors, yakuza enforcers and atomic monsters take their place alongside the politically charged works of the Japanese New Wave, making this a truly comprehensive volume.

Introduction by the Editor

Film of the Year

Achilles and the Tortoise

Festival Focus

Nippon Connection

Industry Spotlight

The Arts Theatre Guild

Cultural Crossover

Art & Film

Directors

Takeshi Kitano

Satoshi Kon

Akira Kurosawa

Alternative Japan

Anime / Animation

Chambara / Samurai Cinema

Contemporary Blockbusters

Jidaigeki & Gendaigeki / Period & Contemporary Drama

J-Horror / Japanese Horror

Kaiju Eiga / Monster Movies

Nuberu Bagu / The Japanese New Wave

Pinku Eiga / Pink Films

Yakuza / Gangster

Sujets

Película fotográfica

Cinema of Asia

General officer

Television

Animation

General

Radio

Satoshi Kon

Film

Takeshi Kitano

Akira Kurosawa

Cinéma

Cinema

Informations

Publié par	Intellect Books
Date de parution	01 juin 2010
Nombre de lectures	4
EAN13	9781841503561
Langue	English
Poids de l'ouvrage	11 Mo

Informations légales : prix de location à la page 0,2248€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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www.worldcinemadirectory.org

intellect| www.intellectbooks.com

CWIONERLMAN DIRECTORY OF DA

JAP EDITED by John bErrA

AFRICAN/NIGERIAN AMERICAN–HOLLYWOOD AMERICAN – INDEPENDENT DIRECTORY OF ARAB AUSTRALASIAN WORLDBRITISH CINEMA CANADIAN CHINESE EAST EUROPEAN The Directory of World Cinemaaims tO BRiNg a FRENCH New dimeNsiON tO tHe academic studY Of ﬁlm. THe diRectORY is iNteNded tO plaY a paRt iN tHe GERMANdistRiButiON Of academic Output, BY BuildiNg a fORum fOR tHe studY Of ﬁlm fROm a discipliNed IRANIANtHeORetical Base. INDIAN WWW.WORLDCINEMADIRECTORY.ORG ITALIAN JAPANESE Visit tHe weBsite wHeRe YOu caN: RUSSIAN LeaRN mORe aBOut tHe pROject COmmeNt ON aNY Of tHe Reviews SWEDISHWRite YOuR OwN ﬁlm OR diRectOR Reviews offeR tO edit a vOlume Of tHe diRectORY TURKISH SPANISH / PORTUGUESE SOUTH AMERICAN / BRAZILIAN REST OF THE WORLD (INCLUDING ISRAEL, KOREA, DENMARK, FINLAND, NORWAY AND ICELAND,

Volume 1

DIRECTORY OF WORLD CINEMA JAPAN

Edited BY JOHN beRRa

intellectBristol, UK / Chicago, USA

FiRst PuBlisHed iN tHe UK iN 2010 BY INtellect, THe Mill, PaRNall rOad, FisHpONds, bRistOl, bS16 3JG, UK

FiRst puBlisHed iN tHe USA iN 2010 BY INtellect, THe UNiveRsitY Of CHicagO PRess, 1427 E. 60tH StReet, CHicagO, IL 60637, USA

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 AssistaNt: JeNNifeR ScHivas INteRNs: EmilY Caulﬁeld, naOmi WaRReN, JOHaNNa Pittam, CaRmeN ScHaack

DesigN: hOllY rOse COpY EditOR: heatHeR oweN TYpesettiNg: Mac StYle, beveRleY, E. yORksHiRe

DiRectORY Of WORld CiNema ISSn 2040-7971 DiRectORY Of WORld CiNema eISSn 2040-798X DiRectORY Of WORld CiNema: JapaN ISbn 9781841503356 DiRectORY Of WORld CiNema: JapaN eISbn 9781841503561

DIRECTORY OF WORLD CINEMA JAPAN

Acknowledgements

Introduction by the Editor

Film of the Year AcHilles aNd tHe TORtOise

Festival Focus nippON CONNectiON

Industry Spotlight THe ARts THeatRe Guild

Cultural Crossover ARt & Film

Directors TakesHi KitaNO SatOsHi KON AkiRa KuROsawa

Alternative Japan EssaY reviews

Anime / Animation EssaY reviews

Chambara / Samurai Cinema EssaY

reviews C104ontemporary Blockbusters EssaY reviews O

Jidaigeki & Gendaigeki / Period & Contemporary Drama EssaY reviews

JHorror / Japanese Horror EssaY reviews

132

176

Kaiju Eiga / Monster Movies 206 EssaY reviews

Nuberu Bagu / The Japanese New Wave 226 EssaY reviews

Pinku Eiga / Pink Films EssaY reviews

Yakuza / Gangster EssaY reviews

Recommended Reading

Japanese Cinema Online

Test Your Knowledge

Notes on Contributors

248

266

284

287

292 295 TENTS

ACKNOWLEDGENTS

DiRectORY Of WORld CiNema

THis ﬁRst editiON Of tHeDirectory of World Cinema: Japanis tHe Result Of tHe cOmmit-meNt Of a RaNge Of cONtRiButORs fROm tHe ﬁelds Of academia aNd ﬁlm jOuRNalism. I wOuld like tO tHaNk eveRYONe wHO Has cONtRiButed tO tHis vOlume as, altHOugH tHe BackgROuNds aNd appROacHes Of tHe wRiteRs wHO Have suBmitted essaYs aNd Reviews aRe quite diveRse, tHeiR cOllective eNtHusiasm fOR tHe pROject Has Yielded aN iNfORmed aNd iNsigHtful aNalYsis Of a fasciNatiNg NatiONal ciNema. THis vOlume was NeveR iNteNded tO Be a cONveNtiONal ﬁlm guide, as tHe OveRall aim was alwaYs tO discuss JapaNese cultuRal life aNd HistORY as expRessed tHROugH tHe medium Of ﬁlm. As sucH, I am mOst gRateful tO all Of tHe cONtRiBu-tORs fOR emBRaciNg tHis BRief aNd fullY eNgagiNg witH JapaNese ciNema tHROugH tHeiR pRefeRRed metHOd Of aNalYsis, wHetHeR it Be sOcial-pOlitical, aestHetic, OR geNRe-Based. THROugH tHeiR discussiONs Of sucH geNRes as ANime, MONsteR MOvies, SamuRai, yakuza, PiNk Films aNd tHe CONtempORaRY blOckBusteR, tHeY Have eNdeavOuRed tO eNgage witH studeNts, seNiOR academics, aNd ﬁlm eNtHusiasts, aNd it Has BeeN a pleasuRe tO wORk witH eacH cONtRiButOR iN aN editORial capacitY. I wOuld alsO like tO tHaNk tHe team at INtellect, paRticulaRlY MasOud yazdaNi aNd MaY yaO, wHO Have suppORted tHis vOlume tHROugH its vaRiOus stages, makiNg it a tRulY cOl-laBORative pROcess. THe cOmmitmeNt wHicH INtellect is makiNg tOwaRds tHe ﬁeld Of Film Studies is exempliﬁed BY tHis DiRectORY, aNd will cONtiNue witH OtHeR vOlumes iN tHe Directory of World CinemaseRies. THeDirectory of World Cinema: JapanwOuld alsO NOt Have BeeN pOssiBle witHOut tHe assistaNce Of David DesseR, wHO was iNstRumeNtal iN BRiNgiNg tOgetHeR maNY Of cONtRiButORs tO tHis editiON, aNd tHe cRitical NetwORk Of tHe TORONtO J-Film POw-WOw, aN ONliNe cOmmuNitY wHicH is dedicated tO fuRtHeRiNg tHe discussiON Of JapaNese ciNema iN tHe West. A puBlicatiON witH tHe deptH aNd scOpe Of tHeDirectory of World Cinema: JapancaNNOt cOme tO fRuitiON witHOut sucH suppORt, aNd YOuR assistaNce is gReatlY appReciated.

John Berra

AckNOwledgemeNts5 ACKNOWLEDGENTS

DiRectORY Of WORld CiNema

6JapaN

INTRODUCTION BY THE EDITOR

THe ﬁlms tHat Have emeRged fROm JapaN, fROm tHe sileNt peRiOd, tO tHe pOst-waR eRa, aNd tHe pReseNt daY, RepReseNt a HistORicallY aNd cultuRallY impORtaNt NatiONal ciNema; tHis is a ciNema tHat Has uNdeRgONe fasciNatiNg tRaNsitiONs as it Has RespONded tO sHiftiNg pOlitical climates, tHe Needs Of tHe dOmestic audieNce, aNd tHe aRtistic amBitiONs Of auteuR diRectORs. It Has BeeN suggested BY GeROw iN tHe Encyclopaedia of Japanese Culture(buckleY 2009) tHat tHe JapaNese ﬁlm iNdustRY Has cONsciOuslY mOdelled itself ON hOllYwOOd, witH tHe fORmatiON Of majOR studiOs aNd a ReliaNce ON paRticulaR geNRes aNd NaRRative fORms, mOst OBviOuslY samuRai, Yakuza aNd mONsteR mOvies, aNd tHe develOpmeNt Of ‘staR’ ideNtities. hOweveR, tHe pOst-waR JapaNese ﬁlm iNdustRY Has alsO BeeN diRectOR-ORieNtated, wHicH Has allOwed auteuR ﬁlmmakeRs tO develOp tHeiR distiNctive ciNematic seNsiBilities BOtH witHiN tHe maiNstReam aNd ON its maRgiNs; tHis Has Resulted iN distiNctive BOdies Of wORk wHicH effORtlesslY BleNd tHe cOmmeRcial witH tHe peRsONal, pROvidiNg RicH cultuRal aNd sOcial-pOlitical iNsigHt, wHilst alsO satisfYiNg aNd suBveRtiNg audieNce expectatiONs BOtH NatiONallY aNd iNteRNatiONallY. betweeN 1950 aNd 1958, JapaN was pROduciNg tHe laRgest NumBeR Of ﬁlms iN tHe wORld But, as witH its AmeRicaN mOdel, it BegaN tO lOse audieNces due tO tHe adveNt Of televisiON aNd tHe RejectiON Of studiO-saNctiONed ciNema BY tHe all-impORtaNt YOutH maRket. THe iNdustRial RevOlutiON tHat fOllOwed, wHicH Resulted iN tHe adveNt Of tHe JapaNese new Wave, iNdepeNdeNt pROductiON, aNd tHe emeR-geNce Of auteuR ﬁlmmakeRs wHO weRe aBle tO ReacH tHe YOutH audieNce witH tHeiR vOlatile ciNematic excuRsiONs iNtO tHe uNdeRBellY Of cONtempORaRY JapaNese sOcietY, gave Rise tO a gReateR diveRsitY iN JapaNese ciNema. THis suddeN sHift pROvided audieNces witH ﬁlms tHat weRe expeRimeNtal aNd pOliticallY-cHaRged alONgside mORe tRaditiONal eNteRtaiNmeNt tHat Revelled iN tHe RicH HistORY Of tHe NatiON, wHilst alsO cOmmeNtiNg ON mOdeRNitY tHROugH tHe distaNce Of tHe peRiOd piece. WHile tHe ciNema Of JapaN is OfteN appReciated fOR its aestHetics, witH tHe expeRtlY-staged widescReeN-actiON Of AkiRa KuROsawa aNd tHe familial iNtimacY Of yasujiRO ozu pROvidiNg twO cONtRastiNg But equallY appROpRiate examples, it Has alsO cHRONicled tHe tuRBuleNt HistORY Of tHe NatiON: tHe heiaN aNd EdO peRiOds Have OfteN seRved as tHe BackdROp fOR HistORical dRama, wHile tHe pOsitive aNd Negative aspects Of tHe occupatiON Of JapaN aNd its mucH-discussed ‘BuBBle ecONOmY’ Have BeeN acutelY explORed witHiN estaBlisHed geNRe templates, WHilst ReseaRcHiNg tHe suBject Of CONtempORaRY WORld CiNema I Had tHe plea-suRe Of iNteRviewiNg JOHN Williams, a WelsHmaN wHO is ﬁRmlY estaBlisHed iN tHe JapaNese ﬁlm iNdustRY siNce fORmiNg His pROductiON cOmpaNY 100 MetRe Films, tHROugH wHicH He Has wRitteN aNd diRected twO ﬁNe ﬁlms iN tHe JapaNese laN-guage,Fireﬂy Dreams(2001) aNdStarﬁsh Hotel(2006). he explaiNed tHat, upON RetuRNiNg tO tHe UK, He was disappOiNted tO discOveR tHat tHe DVD Racks Of bRit-isH RetaileRs ONlY featuRed titles BY speciﬁc diRectORs, sucH as TakesHi KitaNO aNd TakasHi Miike, wHO Have BeeN aggRessivelY maRketed tO OveRseas audieNces due tO tHe ‘extReme’ NatuRe Of tHeiR wORk aNd tHat OtHeR aspects Of JapaNese CiNema

DiRectORY Of WORld CiNema

Have BeeN sOmewHat Neglected BY glOBal distRiButORs. he alsO expRessed fRustRatiON tHat ‘tHe sexuallY explicit JapaNese ciNema tHat is BetteR kNOwN iN tHe West is a veRY maRgiNal ciNema iN JapaN’, aNd tHat ‘mOst Of wHat I peRsONallY tHiNk is tHe gReat JapaNese ciNema Of tHe last teN YeaRs Has NOt made it tO tHe UK OR eveN Outside JapaN at all.’ Williams cONcedes tHat sucH distRiButiON issues aRe a ‘maRket RealitY’, aNd wHile tHis vOlume alsO ackNOwledges tHat RealitY BY featuRiNg a NumBeR Of pOpulaR titles tHat aRe widelY accessiBle Outside JapaN, it alsO attempts tO ReaddRess tHe BalaNce BY featuRiNg a wide RaNge Of ﬁlms aNd ﬁlm-makeRs fROm JapaN’s ciNematic past aNd pReseNt. IN tHe West, tHe ciNema Of JapaN Has ReceNtlY BeeN assOciated witH ciNematic stRaNgeNess aNd extRemitY, laRgelY due tO tHe J-hORROR BOOm, wHicH is NOw iN decliNe iN tHe dOmestic maRket aNd Has alsO ReacHed a plateau iN tHe UK aNd elsewHeRe, laRgelY due tO tHe demise Of tHe distRiButOR TaRtaN aNd its ‘Asia ExtReme’ laBel. THe iNteRNatiONal success, paRticulaRlY tHROugH tHe lucRative DVD maRket, Of titles sucH asRing(1998) aNdDark Water(2002), BOtH diRected BY hideO nakata, aNd TakasHi Miike’sAudition(1999), NOt tO meNtiON KiNji Fuka-saku’s cONtROveRsial ciNematic swaNsONgBattle Royale(2000), Have BROugHt cONtempORaRY JapaNese ciNema tO aN eNtHusiastic audieNce tHat is Receptive tO iNNOvative geNRe faRe, RegaRdless Of its cOuNtRY Of ORigiN. hOweveR, tHe pOpulaR-itY – aNd NOtORietY – Of tHese ﬁlms Have sOmewHat OBscuRed BOtH tHe BuRgeON-iNg iNdepeNdeNt sectOR Of cONtempORaRY JapaNese ciNema aNd its legacY. SucH excelleNt academic puBlicatiONs as PHilips aNd StRiNgeR’s (2006)Japanese Cinema: Texts and Contexts, nOlletti aNd DesseR’s (2005)Reframing Japanese Cinema, aNd ritcHie’s exteNsive wORk ON tHe suBject, wHicH iNcludes sucH texts as Japanese Cinema: An Introduction(1990)aNdJapanese Cinema: Film Style and National Character(1972), Have plaYed a vital ROle iN empHasiziNg tHe ciNematic ideNtitY Of JapaN, aNd eNsuRiNg tHat sucH impORtaNt auteuRs as KeNji MizOgucHi, KON IcHikawa aNd SHOHei ImamuRa aNd Have NOt BeeN Neglected due tO tHe pOpulaR tReNds aNd maRketiNg HOOks wHicH OfteN ‘ReiNveNt’ NatiONal ciNema, alteRiNg peRceptiONs Of stYle aNd cONteNt iN puRsuit Of sHORt-teRm ecONOmic gaiN. As witH tHe OtHeR vOlumes iN tHeDirectory of World CinemaseRies, tHeDirec-tory of World Cinema: Japanis iNteNded tO Be iNfORmative RatHeR tHaN exHaustive. INstead Of pROvidiNg a geNeRal OveRview Of JapaNese CiNema, past aNd pReseNt, tHROugH a cONveNtiONal A–Z stRuctuRe, tHis vOlume aims tO OffeR ReadeRs BOtH familiaR aNd uNfamiliaR witH tHis paRticulaR NatiONal ciNema a mORe cultuRallY-speciﬁc iNsigHt iNtO tHe ﬁlms tHat Have emeRged fROm JapaN. reviews aRe ORgaNized BY geNRe OR ciNematic mOvemeNt, eacH sectiON OpeNiNg witH aN iNtROductORY essaY, wHicH aims tO pROvide cultuRal aNd iNdustRial cONtext. otHeR sectiONs iNclude INdustRY SpOtligHt, wHicH fOcuses ON tHe ARt THeatRe Guild; a Festival FOcus ON tHe aNNual nippON CONNectiON eveNt; aNd CultuRal CROssOveR, wHicH explORes tHe liNks BetweeN JapaNese ARt aNd JapaNese CiNema. THe sectiON ON DiRectORs pROvides tHe OppORtuNitY fOR mORe detailed discussiON Of tHRee fasciNatiNg ﬁlm-makeRs: AkiRa KuROsawa, TakesHi KitaNO, aNd SatOsHi KON, witH tHeiR OeuvRes BeiNg aNalYsed iN RelatiON tO tHeiR pROductiON metHOdOlOgY, tHematic cONceRNs, aNd ciNematic lega-cies. It is HOped tHat, BY fOcusiNg ON a RaNge Of sigNiﬁcaNt geNRes aNd allOwiNg cONtRiButORs tO adOpt tHeiR pRefeRRed aNalYtical appROacHes (aestHetic, iNdustRial, sOcial-pOlitical, tRaNsNatiONal), tHeDirectory of World Cinema: JapanpROvides a uNique iNsigHt iNtO ‘JapaNeseNess’ tHROugH tHe medium Of ﬁlm, aNd its NatiONal evOlutiON as a mOde Of iNdustRial aNd cultuRal pROductiON.

John Berra

INtROductiON7

DiRectORY Of WORld CiNema

8JapaN

Akiresu to Kame, 2008. PROduced BY baNdai/WOwOw

FILM OF THE YEAR ACHILLES AND THE TORTOISE