What is Japanese cinema?: a history
"What might Godzilla and Kurosawa have in common? What, if anything, links Ozu's sparse portraits of domestic life and the colorful worlds of anime? In this book, Yomota Inuhiko provides a concise history of Japanese film that shows how cinema tells the story of Japan's modern age. Di...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | English Japanese |
| Veröffentlicht: |
New York
Columbia University Press
[2019]
|
| Ausgabe: | English translation |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "What might Godzilla and Kurosawa have in common? What, if anything, links Ozu's sparse portraits of domestic life and the colorful worlds of anime? In this book, Yomota Inuhiko provides a concise history of Japanese film that shows how cinema tells the story of Japan's modern age. Discussing popular works alongside auteurist masterpieces, Inuhiko considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in historical, technological, and global contexts. Inuhiko shows how Japanese film has been shaped by traditional art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry's rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Inuhiko provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography"-- |
| Beschreibung: | "Originally published in the Japanese as Nihon eigashi 110 nen (Tokyo: Shueisha, 2014)" |
| Beschreibung: | XVIII, 228 Seiten Illustrationen 22 cm |
| ISBN: | 9780231191623 9780231191630 |
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Datensatz im Suchindex
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| adam_text | CONTENTS
Note on Nantes and Film Titles xiii
Preface to the English Translation xv
Introduction 1
The Characteristics of Japanese Cinema 2
Cinema as a Liminal Art 5
Masumura Yasuzo’s Critique of Japanese Film
Mixing with Neighboring Genres 9
Connections with Traditional Theater 12
The Origins of the Benshi 14
Cultural Hybridity 16
More Than One Wave 19
The Reappearance of Forgotten Memories
1. Motion Pictures: 1896-1918 24
The Arrival of Cinema 24
The First Footage Shot by a Japanese Person
Connections with Mass Theater 27
Issues of Nationalism 29
VIII
CONTENTS
Makino Shozô: The First Director 31
The Establishment of Nikkatsu 34
The Significance of Benshi 35
2. The Rise of Silent Film: 1917-1930 38
The Pure Film Movement 38
The Birth of Film Journalism 39
The Arrival of Actresses 41
The Self-Consciousness of Japanese Cinema 45
Shôchiku’s Shôshimin Films 46
Reforms at Nikkatsu 47
Kinugasa Teinosuke Thrives 48
Constructingjidaigeki 50
Tendency Films and Their Aftermath 54
3. The First Golden Age: 1927-1940 57
Initial Attempts at Talkies 57
Making Real Talkies 59
Gendaigeki with Topknots 61
Cosmopolitan Shôchiku and Nativist Nikkatsu 64
The Expanding World of Mizoguchi Kenji 67
From PCL to Tôhô 69
Coproduction with Nazi Germany 70
4. Japanese Cinema During Wartime 72
Setting Up the Wartime System 72
The Characteristics of Japanese War Films 74
Cinema and the “Overcoming Modernity” Debate 77
The Disguise of Kamei Fumio 78
How Film Directors Responded to Wartime 79
5. Film Production in the Colonies and Occupied Lands 82
The Film Industry in Taiwan 82
Films to Enlighten the Taiwanese Natives 84
Taiwanese Cinema After Liberation 85
CONTENTS IX
The Film Industry in Korea 86
Korean Cinema’s Golden Age 87
The Decline and Revival of Korean Film 88
Establishing Manchurian Cinema 90
The Emergence of Ri Koran 92
The End of Man’ei 94
Chinese Film Studios in Shanghai 95
Film Production in Southeast Asia 96
6. Japanese Cinema Under American Occupation:
1945-1952 98
Filmmakers at the End of the War 98
What Were Japanese Filmmakers Doing When the War Ended? 99
Censorship Under the Occupation 99
Idea Films 102
The Problem of War Responsibility 104
What Kind of Films Did Individual Directors Shoot During
This Period? 105
The Rise of Kurosawa Akira 106
7. Toward a Second Golden Age: 1952-1960 109
The End of the Occupation System 109
Shifts in War Films 110
The Advance into International Film Festivals 112
A Boom in Independent Productions 114
Samurai and Kaiju at Tdho 115
Daiei Mother Films and Mizoguchi Kenji 119
Shochiku Melodrama: Kinoshita and Ozu 121
Period Films at T6ei 122
Nikkatsu’s Steady Advance 123
8. Upheaval Amid Steady Decline: 1961-1970 127
The Peak of the Studio System 127
A Colorful Variety of Films at Toho 129
Daiei’s Star System 131
X CONTENTS
Ichikawa Kon and Masumura Yasuzo 132
The Shochiku Nouvelle Vague 134
Shochiku Turns Reactionary 136
Toei’s Idealized Gangsters 137
Nikkatsu Borderless Action Film 139
Nikkatsu’s Eccentric Geniuses 141
Independent Production and ATG 143
The King of Pink Film 144
9. Decline and Torpor: 1971-1980 148
Japanese Cinema During the Years of Lead 148
Nikkatsu Roman Porno 150
Youth Films at Nikkatsu 152
Toei: Without Honor or Humanity 153
Shochiku: The Empire of Yamada Yoji 155
Veteran Directors Depict Women 156
ATG as a Base for Protest 158
Two Documentary Filmmakers 160
10. The Collapse of the Studio System: 1981-1990 163
Major Studios in Distress 163
Changes to the System of Production, Distribution, and
Exhibition 165
New Directors with No Connection to the Studio System
Return of the Directors of the 1960s 168
A Flood of New Directors 170
11. The Indies Start to Flourish: 1991-2000 174
The Collapse of the Cinematic Bubble 174
Increasing Internationalism 176
Fragmenting Production Companies 178
Encountering the Ethnic Other 179
Memory and Nostalgia 181
The Phenomenon of Kitano Takeshi 183
166
CONTENTS XI
12. Within a Production Bubble: 2001-2011 186
Japanese Cinema Sinks 186
Changes in the Mode of Production 188
Melodrama and Historical Consciousness 190
Woman Directors Appear on a Mass Scale 191
The Rise of J-Horror 194
Exposing Hidden History 196
Notes 201
Index 215
|
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| contents | Motion pictures: 1896-1918 -- The rise of silent film: 1917-1930 -- The first golden age: 1927-1940 -- Japanese cinema during wartime -- Film production in the colonies and occupied lands -- Japanese cinema under American occupation: 1945-1952 -- Toward a second golden age: 1952-1960 -- Upheaval amidst steady decline: 1961-1970 -- Decline and torpor: 1971-1980 -- The collapse of the studio system: 1981-1990 -- The indies start to flourish: 1991-2000 -- Within a production bubble: 2001-2011 |
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| spelling | Yomota, Inuhiko 1953- (DE-588)132821494 aut Nihon eigashi 110-nen What is Japanese cinema? a history Yomota Inuhiko ; translated by Philip Kaffen English translation New York Columbia University Press [2019] © 2019 XVIII, 228 Seiten Illustrationen 22 cm txt rdacontent n rdamedia nc rdacarrier "Originally published in the Japanese as Nihon eigashi 110 nen (Tokyo: Shueisha, 2014)" Motion pictures: 1896-1918 -- The rise of silent film: 1917-1930 -- The first golden age: 1927-1940 -- Japanese cinema during wartime -- Film production in the colonies and occupied lands -- Japanese cinema under American occupation: 1945-1952 -- Toward a second golden age: 1952-1960 -- Upheaval amidst steady decline: 1961-1970 -- Decline and torpor: 1971-1980 -- The collapse of the studio system: 1981-1990 -- The indies start to flourish: 1991-2000 -- Within a production bubble: 2001-2011 "What might Godzilla and Kurosawa have in common? What, if anything, links Ozu's sparse portraits of domestic life and the colorful worlds of anime? In this book, Yomota Inuhiko provides a concise history of Japanese film that shows how cinema tells the story of Japan's modern age. Discussing popular works alongside auteurist masterpieces, Inuhiko considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in historical, technological, and global contexts. Inuhiko shows how Japanese film has been shaped by traditional art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry's rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Inuhiko provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography"-- Aus dem Japanischen übersetzt Geschichte gnd rswk-swf Motion pictures / Japan / History Motion pictures fast Kino gnd Cinéma japonais / Histoire et critique ram Film (DE-588)4017102-4 gnd rswk-swf Kino (DE-588)4129654-0 gnd rswk-swf Japan fast Japan gnd Japan (DE-588)4028495-5 gnd rswk-swf Japan (DE-588)4028495-5 g Film (DE-588)4017102-4 s Geschichte z DE-604 Kino (DE-588)4129654-0 s Kaffen, Phillip ca. 20. Jh. (DE-588)1183597010 trl Erscheint auch als Online-Ausgabe 978-0-231-54948-6 Digitalisierung UB Bamberg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030935026&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Yomota, Inuhiko 1953- What is Japanese cinema? a history Motion pictures: 1896-1918 -- The rise of silent film: 1917-1930 -- The first golden age: 1927-1940 -- Japanese cinema during wartime -- Film production in the colonies and occupied lands -- Japanese cinema under American occupation: 1945-1952 -- Toward a second golden age: 1952-1960 -- Upheaval amidst steady decline: 1961-1970 -- Decline and torpor: 1971-1980 -- The collapse of the studio system: 1981-1990 -- The indies start to flourish: 1991-2000 -- Within a production bubble: 2001-2011 Motion pictures / Japan / History Motion pictures fast Kino gnd Cinéma japonais / Histoire et critique ram Film (DE-588)4017102-4 gnd Kino (DE-588)4129654-0 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4129654-0 (DE-588)4028495-5 |
| title | What is Japanese cinema? a history |
| title_alt | Nihon eigashi 110-nen |
| title_auth | What is Japanese cinema? a history |
| title_exact_search | What is Japanese cinema? a history |
| title_full | What is Japanese cinema? a history Yomota Inuhiko ; translated by Philip Kaffen |
| title_fullStr | What is Japanese cinema? a history Yomota Inuhiko ; translated by Philip Kaffen |
| title_full_unstemmed | What is Japanese cinema? a history Yomota Inuhiko ; translated by Philip Kaffen |
| title_short | What is Japanese cinema? |
| title_sort | what is japanese cinema a history |
| title_sub | a history |
| topic | Motion pictures / Japan / History Motion pictures fast Kino gnd Cinéma japonais / Histoire et critique ram Film (DE-588)4017102-4 gnd Kino (DE-588)4129654-0 gnd |
| topic_facet | Motion pictures / Japan / History Motion pictures Kino Cinéma japonais / Histoire et critique Film Japan |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030935026&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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