By Donald Richie
It's normal wisdom that Japan has produced essentially the most awesome nationwide cinemas within the heritage of movie. This booklet, written by way of the internationally-recognized specialist at the topic, makes jap video clips available to Western audiences as by no means before.
It is; firstly, a succinct historical past of eastern movie, from the start via 1970. it's also, even if, an exploration of eastern culture-and the japanese mind.
The writer relates the flicks to the opposite artwork types, and the traditions and attitudes of the japanese humans. he's therefore in a position to refute the occasional Westernl5bjections that eastern videos are sentimentat, or uninteresting, or packed with cliches. The e-book discusses not just the well known classics of such administrators as Kurosawa and Mizoguchi, but additionally the preferred "entertainment" movies besides. It establishes the ancient foundation for the real post-war motion pictures that first introduced jap cinema to the eye of the area. especially, this ebook explores the original imaginative and prescient of the japanese film-makers, the imaginative and prescient "which is the cultured of Japan-and which has created the most appealing and honest movies ever made."
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Additional resources for Japanese Cinema: Film Style and National Character
From the inaugural issue of Bluestocking (September 1911). The translation is from Rebecca Copeland, “Hiratsuka Raicho¯,” in Japanese Women Writers: A Bio-critical Sourcebook, ed. Chieko I. : Greenwood, 1994), pp. 132–143. 2. In the early to mid-Meiji, the terms “keishu¯ ” and “joryu¯ ” (woman’s style) were used interchangeably to define the works of women. But keishu¯ was used with more frequency when referring to women writers collectively. By the end of the Meiji period, joryu¯ replaced keishu¯ in this regard as well, except when critics referred retrospectively to the women writers of the earlier age.
University of Chicago, 1991), p. 93. Sakaki, “Sliding Door,” p. 4. As cited and translated in Tomi Suzuki, Narrating the Self: Fictions of Japanese Modernity (Stanford: Stanford University Press, 1996), p. 24. Akiyama Shun, “Ima joryu¯ bungaku to wa nani ka: Sengo shi to no kanren de,” Kokubungaku kaishaku to ky¯zai o no kenkyu¯ 15 (December 1980): 124–127, as quoted and translated in Joan Ericson, “The Origins of the Concept of Women’s Literature,” in The Woman’s Hand: Gender and Theory in Japanese Women’s Writing, ed.
They were articulate, intellectually curious, and proudly conscious of their need to assert control over their own destiny—both physical and intellectual. Writing, whether or not they took up the brush in a conscious effort to protest, offered these women access to the ever-shifting spheres beyond the ken of family, home, and appropriate social roles. introduction: meiji women writers 25 notes 1. From the inaugural issue of Bluestocking (September 1911). The translation is from Rebecca Copeland, “Hiratsuka Raicho¯,” in Japanese Women Writers: A Bio-critical Sourcebook, ed.
Japanese Cinema: Film Style and National Character by Donald Richie