By Donald Richie
Completely revised and up-to-date, the newest variation of this authoritative quantity through Donald Richie, the main Western specialist on eastern movie, provides us an incisive, targeted, and entirely illustrated background of the country's cinema.
Called "the dean of Japan's arts critics" through Time journal, Richie takes us from the inception of eastern cinema on the finish of the 19th century, throughout the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the striking works of latest filmmakers. This revised version comprises analyses of the most recent traits in eastern cinema, reminiscent of 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 recognize rather well yet historians frequently put out of your mind) . . . 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 wish to watch the works brought in those pages, Richie has supplied pill reports of the foremost subtitled jap 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 on hand in those codecs for the 1st time.
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Additional resources for A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos
These inherent differences nay also explain why the Japanese were puzzled over what Degas and Monet could have found so special in ordinary Japanese prints. The national inclination toward the presentational did not mean that certain realistic aspects of the moving picture were neglected. It was rather that they were not insisted upon and that, when included, they appeffed cornprornised (to Western eyes) by a stagey artificiality. The documentary, with its almost ostentatious lack of presentation and its tacit assump- tions of representation, became influential in Japan much later than it had in other countries.
Life was thus drarnatically lifelike only after having been explained and cornmented upon. Art and entertainment alike were presentational, that is, tlrey rendered aysarticular reality by way of an authoritative voice (be it the noh chorus or the benshi). This approach stood in marked contrast to the representational style of the West in which one assumed the realiW of what was being shown. "r0 Though Hokusai's sparrows are thought realistic in Japarr, this kind of realism is seen u partial when contrasted with the clairls of "cinerratic realism" in the West.
What story there had been was rigidly formed to fit into the requirements of the benshi. Now, however, something more cornplicated was about to be discovered. This was a more revealing and hence engaging kind of storytelling, an ordering which would nake ernotior-r more palpable. Rather than a simple assemblage of separate scenes, there would be a series of linked otlrer, fonvarded the story, and since (in Sontag's words, reve aled cause scenes- each of which commented on the and effect. Japanese drama, shingeki-along with contemporary Western fihns-enabled tl'rcJapanese cinema to further evolve.
A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos by Donald Richie