By Alistair Phillips, Julian Stringer
Jap Cinema comprises twenty-four chapters on key motion pictures of eastern cinema, from the silent period to the current day, delivering a accomplished creation to jap cinema background and jap tradition and society. learning quite a number vital motion pictures, from overdue Spring, Seven Samurai and within the Realm of the Senses to Godzilla, Hana-Bi and Ring, the gathering comprises dialogue of the entire significant administrators of eastern cinema together with Ozu, Mizoguchi, Kurosawa, Oshima, Suzuki, Kitano and Miyazaki. every one bankruptcy discusses the movie relating to aesthetic, commercial or serious matters and ends with an entire filmography for every director. The ebook additionally features a complete word list of phrases and a complete bibliography of readings on eastern cinema. Bringing jointly major overseas students and showcasing pioneering new study, this e-book is key analyzing for all scholars and common readers attracted to one of many world’s most crucial movie industries.
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Additional resources for Japanese Cinema: Texts and Contexts
Sample text
It is hard not to think of Ozu himself as a ‘salaryman’ who was to be employed by the same filmmaking corporation for most of his working life. Certainly, the nature of Sho¯chiku’s managerial and organisational structures confirms the notion that it was one of the pre-eminent sites from which Japanese mass culture engaged with changes in contemporary society. The company had originally become known for its involvement in popular theatre and had established filmmaking operations in 1920 with the appointment of the American-born son of Japanese immigrants, Henry Kotani.
Instead, Standish argues, perhaps controversially, that post-war Japanese cinema should ‘be analyzed from an historical perspective of an institutional and political discourse of continuity’ (Standish 2005: 162). Having said this, however, Standish is equally keen to locate the sphere of wartime cinema in terms of its multiple temporalities and locations. One of the great challenges for future Englishlanguage scholarship in the field is to take further into account this complex relationship between Japan, its former colonial territories such as Korea and Taiwan, and the adjoining regions of Asia.
Like Ozu himself, these fellow practitioners should not be seen as professionals keen simply to emulate the methods and forms of a dominant Western model of influence. The Japanese film industry needs to be observed within the historical context of its own contested and evolving relationship with the nation’s modernity and all its associated economic upheaval and dynamic social 26 ¯ ’ S I WA S B O R N , B U T . . YA S U J I R O and industrial transformation. One way of thinking about this in more concrete terms would be to see I Was Born, But .