By Donald Richie
Completely revised and up-to-date, the most recent variation of this authoritative quantity via Donald Richie, the major Western specialist on jap movie, offers us an incisive, specific, and completely illustrated heritage of the country's cinema.
Called "the dean of Japan's arts critics" by way of Time journal, Richie takes us from the inception of jap cinema on the finish of the 19th century, during the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the amazing works of up to date filmmakers. This revised version comprises analyses of the most recent traits in eastern cinema, comparable 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 understand 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 wish to watch the works brought in those pages, Richie has supplied tablet stories of the most important subtitled jap 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 movies to be had 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
Though this is no longer true, theJapanese film audience still behaves much as it does at the theater. Like tlre audience of the latter, the moviegoer takes his seat at the beginning of the session. Filmviewing is not seen as acircular entertainment that one rray enter and leave at will. Rather, it has its own narrative rules, and these are to be respected. Mernbers of the Japanese audi- ence rarely leave the theater during the projection and often remain seated credits have been viewed and the lights g0 up.
Urnarete wa rlita keredo, 1932) "came out very dark," as Ozu hintself phrased it, Kido delayed its release by a nurnber of rnonths and remained farnously r-ulnollified when this uncheerftrl film won the Kinerna Juntpo First Prize that year.
The language was colloquial, the topic was largely concerned with the contemporary 22 scene , and the perfor- out not through the strictly stylized rnovements of kabuki but through ^cted movement thought closer to life itself. Still, shimpa retained many kabuki accoutemrents, mance was including males in female roles. It was this distinction between old and new school that shaped the forms taken by the nascent cinema: kabuki-based films became jidaigeki (more common|y, jiclnimono) , a rubric which now defines all period-filrns; and the shirnpa-based pictures were the beginnings of gmdnigeki, or contenporary films.
A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos by Donald Richie