Development on and mentioning up to now the fabric provided within the first installment of listing of worldwide Cinema: Japan, this quantity keeps the exploration of the iconic classics, cult favorites, and modern blockbusters of eastern cinema with new contributions from best critics and movie students. one of the additions to this quantity are in-depth remedies of 2 formerly unexplored genres—youth cinema and flicks depicting lower-class settings—considered along discussions of well known narrative kinds, together with J-Horror, samurai cinema, anime, and the japanese New Wave.
Accompanying the severe essays during this quantity are greater than a hundred and fifty new movie stories, complemented by means of full-colour movie stills, and considerably improved references for additional research. From the Golden Age to the movie competition favourites of this present day, listing of global Cinema: Japan 2 completes this finished remedy of a constantly attention-grabbing nationwide cinema.
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Additional info for Directory of World Cinema: Japan 2
1 Taking biographic details out of account, Mizoguchi was a director specifically and intrinsically concerned with women and Tanaka was the actress he most often used as the devastatingly-effective conduit for his complicated, affectionate and generally sympathetic portrayals of Japanese women. Although Tanaka starred in four Mizoguchi films in the first half of the 1940s, it is in the films from the post-war portion of Mizoguchi’s career that his fascination with her can be most clearly evinced.
Is an aggressive critique of identity and counters authoritative definitions of reality. Ghosts repeatedly haunt Kurosawa’s films, not just to epitomize our world of simulacra but to blame us for its creation, just as the child ghost in Seance (Kôrei, 2001) wreaks the wife’s mundane plans for success and media fame as a spirit medium, or the woman ghost in Retribution rues the postmodern city that has forgotten its darker, industrial past. The ghosts of the simulacrum remain ambiguous, yet they are generally visible to the eye.
I have been so profoundly involved [with puppets]’, he wrote in 1994, ‘that now I cannot even think of another way of life. However, if someone asks me what a puppet is, I can’t answer yet. ’1 Kawamoto’s animated puppet films suggest the influence of Japanese theatrical traditions like the Bunraku puppet theatre and Noh, but these are only two strands of influence of many that played a role in the development of Kawamoto as a puppet artist. Kawamoto’s love affair with puppets began as a child.