By Donald Richie
Completely revised and up-to-date, the newest variation of this authoritative quantity through Donald Richie, the main Western professional on eastern movie, supplies us an incisive, certain, 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, in the course of the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the extraordinary works of up to date filmmakers. This revised version comprises analyses of the most recent tendencies in eastern cinema, resembling 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 construction (something filmmakers be aware of rather well yet historians frequently omit) . . . and exhibits the interweave of filmmaking—the contributions of administrators, writers, cinematographers, actors, musicians, artwork 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 foremost subtitled eastern motion pictures commercially to be had in DVD and VHS codecs. This consultant has been up-to-date to incorporate not just the simplest new motion picture releases, but in addition vintage movies on hand 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
A third reason for change was a new form of theater, shingeki (literally, "new dtanta"), which was also foreign, consisting as it did of aJapanese version of Western proscenium theater. The Japanese audience was now ready for sonething besides shimpa melodrama and 0n0e's kabuki-like cavortings. What in ten years had become the "traditional" Japanese fihn was losing its audience. Sato Tadao has said thatatthattime, around 1910, itwas "comrnon knowledge that Japanese films were rubbish compared to foreign films.
Rr Bordwell's example is the dissolve (one irnage appearing over another): in the West it suggests the passing of time, while in Japan it is simply decoration. Through the dissolve, the filmmaker-intentionally or insists on the theatricalify that remains so much an aim psf- in anyJapanese entertaiument. " A particularly "Llnrealistic" use is seen in the final sequence of the film. A title auuounces, "lf he [the father] hadn't forgiven them; if he had forgiveu them," and we see what would have perhaps happened had things been otheruise.
With its desertions and beffayals, it was indeed quite shirnpa-like. Still, there was much that was new . Kaefiyama, like everyone else, had studied the Bluebird Photoplays with their simple, undemtandable struc- tures. He had his heroine read Ivan Turgenev, while her little brother imitates Charlie Chaplin. In addition, the whole picture was tinted in the manner of the fashionable Italian product. Kaeriyam a and his associates added s0 nany new touches that the company became slls- piciotrs during the shooting.