Directory of World Cinema: Japan 3

John Berra

Description

Back for a second encore following the success of the first two instalments, this volume takes as its subject not the genres or movements that constitute the cinema of the Land of the Rising Sun but the filmmakers themselves. Focusing entirely on directors, the contributors here offer over forty essays on key Japanese auteurs, ranging from the Golden Age to the New Wave to the present day, including of trend-setting and taboo-breaking genre specialists who have achieved a significant cult following.

 

Though the spotlight is on the filmmakers, this new volume continues to consider a wide range of genres associated with Japanese cinema, including animation, contemporary independent cinema, J-Horror, the New Wave, period drama, science fiction and yakuza.

 

Like its predecessors, Directory of World Cinema: Japan 3 endeavours to move scholarly criticism of Japanese film out of the academy and into the hands of cinephiles the world over. This volume will be warmly welcomed by those with an interest in Japanese cinema that extends beyond its established names to equally remarkable filmmakers who have yet to receive such rigorous attention.  

Introduction by the Editor 

Films of the Year 

Hard Romanticker

Himizu 

Kotoko 

A Letter To Momo 

No Man's Zone 

Festival Focus 

Tokyo Filmex and the Problem of the Niche

Industry Spotlight 

Interview with Susumu Hani

Directors 

Shinji Aoyama 

Kinji Fukasaku 

Kazuo Hara 

Yasuharu Hasebe 

Eikoh Hosoe

Jun Ichikawa 

Kon Ichikawa 

Shohei Imamura 

Katsuhito Ishii 

Teruo Ishii 

Shunji Iwai

Akio Jissoji 

Ryuhei Kitamura

Takeshi Kitano 

Masaki Kobayashi

Masaru Konuma

Hirokazu Kore-eda

Akira Kurosawa

Yasuzo Masumura 

Hitoshi Matsumoto 

Takashi Miike 

Kenji Misumi 

Goro Miyazaki 

Hayao Miyazaki 

Kenji Mizoguchi 

Yoshimitsu Morita 

Hideo Nakata 

Mamoru Oshii 

Nagisa Oshima 

Yasujiro Ozu 

Rintaro 

Kaneto Shindo 

Makoto Shinkai 

Masahiro Shinoda

Sion Sono 

Seijun Suzuki 

Isao Takahata 

Yuki Tanada

Hiroshi Teshigahara 

Yutaka Tsuchiya 

Shin’ya Tsukamoto 

Koji Wakamatsu

Mitsuo Yanagimachi

Takahisa Zeze 

Sujets

• Directories
• Película fotográfica
• Reference
• Cinema of Asia
• Directory
• History of film
• Animation
• Film

Informations

• Publié par: Intellect Books
• Date de parution: 01 janvier 2015
• Nombre de lectures: 3
• EAN13: 9781783204045
• Langue: English
• Poids de l'ouvrage: 8 Mo

Extrait

DIRECTORY OF WORLD CINEMA

JAPAN3 EDITED BY JOHN BERRA

Volume 31

DIRECTORY OF WORLD CINEMA

JAPAN 3

Edîted by John Berra

intellect Bristol, UK / Chicago, USA

Fîrst pubîshed în the UK în 2015 by Inteect Books, The Mî, Parna Road, Fîshponds, Brîsto, BS16 3JG, UK

Fîrst pubîshed în the USA în 2015 by Inteect Books, The Unîversîty of Chîcago Press, 1427 E. 60th Street, Chîcago, IL 60637, USA

Copyrîght © 2015 Inteect Ltd

A rîghts reserved. No part of thîs pubîcatîon may be reproduced, stored în a retrîeva system, or transmîtted, în any form or by any means, eectronîc, mechanîca, photocopyîng, recordîng, or otherwîse, wîthout wrîtten permîssîon.

A cataogue record for thîs book îs avaîabe from the Brîtîsh Lîbrary.

Pubîsher: May Yao Pubîshîng Managers: Jeena Stanovnîk and Heather Gîbson

Cover photograph: Hîdeko Takamîne înThe Insect Woman(1963, Shoheî Imamura). Nîkkatsu/  The Koba Coectîon Cover desîgner: Hoy Rose Copy-edîtor: Sebastîan Maney Typesetter: John Teehan

Dîrectory of Word Cînema ISSN 2040-7971 Dîrectory of Word Cînema eISSN 2040-798X

Dîrectory of Word Cînema: Japan 3 ISBN 978-1-78320-403-8 Dîrectory of Word Cînema: Japan 3 eISBN 978-1-78320-404-5

Prînted and bound by Short Run Press, UK.

CONTENTS

DIRECTORY OF WORLD CINEMA

JAPAN 3

Acknowledgements 5100Yasuzo Masumura Hîtoshî Matsumoto 104 Introduction by the Editor 6Takashî Mîîke 108 Kenjî Mîsumî 112 Films of the Year 8116Goro Mîyazakî Hard Romanticker 9120Hayao Mîyazakî Himizu 10Kenjî Mîzoguchî 124 Kotoko 13128Yoshîmîtsu Morîta A Letter To Momo 15132Hîdeo Nakata No Man's Zone 17138Mamoru Oshîî Nagîsa Oshîma 142 Festival Focus 20Yasujîro Ozu 146 Tokyo Filmex and the ProblemRîntaro 150 of the Niche153Kaneto Shîndo Makoto Shînkaî 157 Industry Spotlight 26161Masahîro Shînoda Intervîew wîth Susumu Hanî Sîon Sono 164 168Seîjun Suzukî Directors 32172Isao Takahata Shînjî Aoyama 32 Yukî Tanada 176 Kînjî Fukasaku 36 Hîroshî Teshîgahara 180 Kazuo Hara 40 Yutaka Tsuchîya 184 Yasuharu Hasebe 44 Shîn’ya Tsukamoto 188 Eîkoh Hosoe 48 Kojî Wakamatsu 192 Jun Ichîkawa 52 Mîtsuo Yanagîmachî 196 Kon Ichîkawa 56 Takahîsa Zeze 200 Shoheî Imamura 60 Katsuhîto Ishîî 63204Recommended Reading Teruo Ishîî 66 Shunjî Iwaî 70210Japanese Cinema Online Akîo Jîssojî 73 Ryuheî Kîtamura 77220Test Your Knowledge Takeshî Kîtano 81 Masakî Kobayashî 85223Notes On Contributors Masaru Konuma 89 Hîrokazu Kore-eda 92Filmography 230 Akîra Kurosawa 96 CONTENTS

Dîrectory of Word Cînema

ACKNOWLEDGEMENTS

Dîrectory of Word Cînema

Thîs thîrd voume of theDîrectory of Word Cînema: Japandeparts from the format of îts predecessors în that ît îs a coectîon of essays on seected dîrectors rather than a coectîon of im revîews organîzed by genre. Such thorough dîscussîon of eadîng Japanese im-makers, some of whom have rarey been dîscussed în prevîous academîc texts on the subject, has been made possîbe by the devotîon and dedîcatîon of thîs voume’s contrîbutor base, whîch encompasses a range of reated schoary înterests în the ied. I woud îke to take thîs opportunîty to thank everyone who has contrîbuted an essay to thîs voume, and aso the team at Inteect Books, whose commîtment to înnovatîve im studîes pubîshîng contînues to make theDîrectory of Word Cînemasuch a cuturay reevant serîes. I woud partîcuary îke to thank the ate Inteect Chaîrman Masoud Yasdanî, who suggested that thîs voume shoud focus on dîrectors. I woud aso îke to thank James Campbe, Heather Gîbson, Mark Lewîs, Meanîe Marsha, Hoy Rose, Jeena Stanovnîk and May Yao, whose professîona dîîgence has resuted în the înternatîona vîsîbîîty of theDîrectory of Word Cînemaserîes. Wîth regard to the încreasîng awareness of theDîrectory of Word Cînema: Japanbeyond academîc cîrces, I woud partîcuary îke to thank Samue Jamîer, Fumîko Mîyamoto and Joe Nevîe Anderson, who arranged for me to partîcîpate în the ‘Love Wî Tear Us Apart’ retrospectîve at the Japan Socîety în February 2012. In my capacîty as guest speaker întroducîng a number of ims on the theme of twîsted romance, I was presented wîth a wonderfu opportunîty to engage wîth the audîence for Japanese cînema în the Unîted States. It was aso a peasure to work aongsîde the organîzatîon’s terrîic vounteer staff throughout a week of screenîngs. I woud aso îke to thank Travîs Crawford and Erîc Moore of Artspoîtatîon Fîms, Keîth Aîken ofScî-Fî Japan, Joey Leung of Terracotta Dîstrîbutîon, Lîza Pamer ofFîm Internatîona, Adam Tore and Caîre Marty of Thîrd Wîndow Fîms and Jon Jung of VCînema for facîîtatîng exposure for thîs serîes, provîdîng DVD copîes of theîr reeases, and arrangîng for the use of im stîs that have contrîbuted to the dîstînctîve desîgn of thîs atest voume. On a very persona note, I woud îke to thank my wonderfu wîfe Meng Yan for her contînued ove and support. I woud aso îke to thank my parents, Pau and Janet, sîster Becky, brother-în-aw Neî, and my ovey nîeces Evîe and Laya. I woud aso îke to thank my în-aws Meng Zhao-quan and Wang Tîeî. Fînay, I woud îke to thank the Japanese im-makers whose works have înspîred such a wîde-rangîng coectîon of essays and offer such an înexhaustîbe treasure trove of research materîa to academîcs în the ied. John Berra

Acknowedgements5 ACKNOWLEDGEMENTS

Dîrectory of Word Cînema

INTRODUCTION BY THE EDITOR

6Japan 3

Thîs thîrd voume of theDîrectory of Word Cînema: Japandeparts from the format of the prevîous entrîes by focusîng excusîvey on dîrectors through a coectîon of însîghtfu essays by both reguar contrîbutors and new voîces to the serîes. These essays are not bîographîca overvîews but studîes of partîcuar aspects of the work of sîgnîicant im-makers that, în some cases, focus on a specîic perîod of theîr often engthy careers. In keepîng wîth the mîssîon statement of theDîrectory of Word Cînemaserîes to expore natîona îdentîty through the medîum of im, these essays adopt a varîety of anaytîca approaches – aesthetîc, cutura, îndustrîa and socîopoîtîca – to expore the rîchy endurîng natîona cînema of Japan. Due to the înevîtabe restrîctîons of space, the seectîon of dîrectors found here îs not întended to be a deinîtîve guîde to Japan’s greatest im-makers. Rather, ît aîms to offer a broad spectrum of dîrectors whose works span varîous tîme perîods, îndustrîa trends and genres, as a means of further estabîshîng the mutîfaceted nature of thîs partîcuar natîona cînema. Therefore, essays on dîrectors who are irmy ensconced în the pantheon of înternatîona cînema (Kenjî Mîzoguchî, Yasujîro Ozu, Akîra Kurosawa) are found aongsîde pîeces on cut favourîtes (Yasuharu Hasebe, Teruo Ishîî, Seîjun Suzukî), wîzards of anîme (Hayao Mîyazakî, Rîntaro, Makoto Shînkaî) and experîmentaîsts who argey defy categorîzatîon (Eîkoh Hosoe, Yutaka Tsuchîya). Whîe such varîous members of the poîtîcay chargedNuberu bagu(Japanese New Wave) as Nagîsa Oshîma, Shoheî Imamura and Kaneto Shîndo are dîscussed, there îs aso consîderatîon of the ecectîc output of such studîo system stawarts as Kon Ichîkawa and Kenjî Mîsumî, whîe the renaîssance of Japanese cînema that occurred în the eary 1990s foowîng a engthy u îs represented by such îndîvîduaîstîc taents as Shînjî Aoyama, Shunjî Iwaî, Hîrokazu Kore- eda, Takashî Mîîke and Sîon Sono. Many of these essays serve to îustrate the sustaîned înterest that Japanese dîrectors have demonstrated wîth regard to the representatîon of socîa groups and the ever-shîftîng poîtîcs of space: Japanese women în the ims of Mîzoguchî and Imamura; Aoyama’s învestîgatîon of communîty; the no man’s and wîthîn urban spraw that îs obsessîvey returned to by Takahîsa Zeze; the severey dysfunctîona famîy unîts depîcted by Mîîke; the records of youth cuture offered by Mîtsuo Yanagîmachî; and the margîna subjects of Kazuo Hara’s documentarîes. There îs aso a focus on aesthetîcs, whîch ranges from the iercey styîzed ‘trash’ of Sono to the pop cuture coo of Ryuheî Kîtamura. A number of the essays here prefer to pace theîr subjects în îndustrîa context. Japanese dîrectors were argey ‘contract payers’ untî the 1970s, when the studîo system began to unrave due to an economîc downturn and an audîence shîft towards teevîsîon; as such, most im-makers who worked for the major studîos from the 1930s to thîs poînt were assîgned ims rather than deveopîng them. Dîrectors found theîr careers beîng shaped by the genres that they were expected to specîaîze în, whetherchanbara (samuraî),jîdaî-gekî(hîstorîca drama),shomîn-gekî(ower-mîdde-cass-îfe drama), yakuza or others. Therefore, dîscussîon of Ishîî’s crîme thrîers, Suzukî’s yakuza chronîces or Mîsumî’s samuraî adventures paces theîr output irmy în the context of theîr respectîve studîo and the audîence preferences of the perîod, whîe consîderîng how these im- makers itered theîr socîa vîsîon through the materîa at hand. These were dîrectors who

Dîrectory of Word Cînema

seemed not merey to accept the pace at whîch the îndustry expected them to operate, but to actuay reîsh the chaenge of deîverîng a decent movîe on a tîght schedue. Untî such dîrectors receîved beated but justy warranted înternatîona attentîon through retrospectîves, the fast turnaround assocîated wîth the Japanese im îndustry at îts productîon peak had often ed theîr achîevements to be ‘ost’ în a pîe of credîts. For înstance, the most frequenty used word în dîscussîons of the egendary Suzukî îs probaby ‘proîic’, even though a dîrector of hîs eve of wît and înventîon îs undoubtedy worthy of greater accoades. As noted, the egacîes of these dîrectors wî be forever tîed to theîr respectîve genres, or the audîence appetîtes that they were expected to feed, but such im-makers have, în turn, not ony shaped but often subverted popuar narratîve forms to suît theîr own înterests. Whîe the mechanîcs of the studîo system oom arge over the Japanese im îndustry, ît îs aso a natîona cînema that contînuay fascînates schoars due to îts îndependent productîons. Whether they be the pîoneerîng works of the Art Theatre Guîd, the festîva sensatîons of Takeshî Kîtano and Shînya Tsukamoto, the medîa actîvîsm of Yutaka Tsuchîya or the output of a savvy im-maker such as Yukî Tanada, who moves nîmby between îndependent and studîo productîon whîe keepîng her work thematîcay consîstent, ims în Japan’s aternatîve sector contînue to pough forwards even în dîficut economîc cîrcumstances. Independent dîrectors are featured not just în the essays here, but aso în the ‘Festîva Focus’ sectîon, whîch takes a ook at the recent ow-budget seectîon of Tokyo FILMeX, and în an extensîve ‘Industry Spotîght’ întervîew wîth Susumu Hanî, who estabîshed a unîque form of radîca documentary im-makîng în the 1960s. New dîrectors and im-makers who can now be consîdered as comparatîve veterans feature în thîs voume’s ‘Fîms of the Year’ sectîon, whîch spotîghts Su-yeon Gu’s vîcîousy amusîng crîme thrîerĤdo romanchîkk̂/Hard Romantîcker(2011), Sono’s harrowîng dramaHîmîzu(2011), Tsukamoto’s emotîonay vîsceraKotoko(2011), Hîroyukî Okîura’s charmîng comîng-of-age anîmeMomo e no tegamî/A Letter to Momo (2011) and Toshî Fujîwara’s hauntîng Fukushîma documentaryMujîn chîtaî/No Man’s Land(2011). Some of these ims were made îndependenty, whîe others are products of the current studîo system, but each evîdences a dîstînct vîsîon that eîther further estabîshes îts dîrector as a eadîng generatîona voîce or marks a younger taent out as a name to foow în the future. Some of the dîrectors dîscussed în thîs voume have yet to beneit from academîc attentîon în the pages of thîs serîes or esewhere, and ît îs both an honour and a peasure to brîng theîr works to the attentîon of our readers. Aso, new approaches to dîrectors of Japan’s Goden Age – such as studîes of the sîgnîicance of eatîng spaces în Ozu and of the encroachîng socîa dîsenchantment în the eary ims of Masakî Kobayashî – are întended to contrîbute to ongoîng dîscussîon regardîng theîr remarkabe careers. Essays on the wîdescreen cînema of Kurosawa, the exporatîon of vîoence în the work of Kîtano, and the anîmatîon of Satoshî Kon can be found în the irst voume of theDîrectory of Word Cînema: Japan; wîth essays on Kîyoshî Kurosawa, Tetsuya Nakashîma, Naoko Ogîgamî, Hîroshî Shîmîzu and Shujî Terayama beîng avaîabe în the second. It îs hoped that thîs thîrd voume în the serîes wî further enrîch your apprecîatîon of Japanese cînema and further contrîbute to your understandîng of natîona cuture through îts examînatîon of im hîstory. John Berra

Introductîon7

Dîrectory of Word Cînema

Hard Romantîcker © 2011 Toeî Company, Artspoîtaton Fîms

FILMS OF THE YEAR  HARD ROMANTICKER  HIMIZU  KOTOKO  A LETTER TO MOMO  NO MAN’S ZONE

8Japan 3