By Donald Richie
Completely revised and up-to-date, the newest version of this authoritative quantity by means of Donald Richie, the key Western professional on eastern movie, supplies us an incisive, precise, and entirely illustrated heritage of the country's cinema.
Called "the dean of Japan's arts critics" by means of Time journal, Richie takes us from the inception of eastern cinema on the finish of the 19th century, in the course of the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the extraordinary works of latest filmmakers. This revised version comprises analyses of the most recent traits in jap cinema, akin 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 conditions of movie creation (something filmmakers understand rather well yet historians frequently fail to remember) . . . and indicates the interweave of filmmaking—the contributions of administrators, writers, cinematographers, actors, musicians, paintings administrators, in addition to financiers."
Of fundamental curiosity to those that want to watch the works brought in those pages, Richie has supplied tablet reports of the main subtitled eastern motion pictures commercially to be had in DVD and VHS codecs. This advisor has been up-to-date to incorporate not just the easiest new motion picture releases, but additionally vintage movies to be had in those codecs for the 1st time.
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Extra info for A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos
W. '5 Among those many professionals attending showings of new foreign films was Makino Shozo, who had by then discovered there were better ways of making fihns than shouting directions at Onoe. Indeed, he was the first Japanese director to reahze the importance of having a scenario. ) was shot from a mere outline, a simple list of the forty-five scenes held in the hand of the director. Now this sarne director saw that this was not sufficient. His production philosophy, when he got around to plrrasing it, was: first, the story; second , a clear picture; third, action.
Though "feudal" elements rernained, the assumptions of the Tokr-rgawa governmeut were hardly useful rn aworld where many of its creations had vanished. Actually, the erosion had been going on for decades-the earthquake merely provided a sense of closure. Upon the death of the Meiji emperor in I9I2, the rnajor oligarchies which had effectively ruled the country reluctantly withdrew fron positions of direct political leader- slrip. Though they continued to oppose many progressive ideals, including the idea of parlia- mentary rule, their influence gradually lessened.
The direction of the picture itself is credited to Murata Minoru, though Osanai (who plays the uncornpromising father in the picture and is also billed as executive producer) certainly had a hand in its making. It was he who sometimes spoke of this fihr as the first "realist" picture in Japan. As is often the case with such ideas, the concept of filrn realism has evolved over time. " Today, of course, the film does not strike the viewer as "realist," but then few 1921 films, regardless of origin, would.