By John Berra
From the respected classics of Akira Kurosawa to the fashionable marvels of Takeshi Kitano, the flicks that experience emerged from Japan signify a countrywide cinema that has received around the world admiration and appreciation. The listing of worldwide Cinema: Japan offers an perception into the cinema of Japan via studies of important titles and case stories of prime administrators, along explorations of the cultural and commercial origins of key genres.
As the inaugural quantity of an formidable new sequence from mind documenting international cinema, the listing goals to play a component in relocating clever, scholarly feedback past the academy by means of construction a discussion board for the examine of movie that depends upon a disciplined theoretical base. It takes the shape of an A–Z choice of reports, longer essays, and examine assets, observed through fifty full-color movie stills highlighting major movies and avid gamers. The cinematic lineage of samurai warriors, yakuza enforcers, and atomic monsters take their position along the politically charged works of the japanese New Wave, making this a very accomplished volume.
About the Author
John Berra is a author and researcher focusing on modern movie stories. he's the writer of Declarations of Independence: American Cinema and the fancy of self sufficient creation, additionally released by means of mind, and he's presently enhancing Intellect’s impending global Cinema listing: American Independent.
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Additional resources for Japan (Directory of World Cinema)
Example text
However, the theme of trying to figure out how one fits into the world and society in general is a constant issue throughout Anno’s works. The most striking thing about the film is Anno’s innovative use of camera angles and shot composition. Anno used multiple digital video cameras, which enabled him to achieve unique shots that he pieces together into a whole that is full of interesting seams. Sometimes, Anno uses such shots to depict a character’s point-of-view while at other times they are used to fit into spaces not usually filmed, such as from below a bowl of soup, inside a microwave, or under a piece of clothing.
Many elements make Yojimbo (1961) just as rewarding today as it was the nearly fifty years ago: the irreverent morals and black humour, the artistry of cinematographer Kazuo Miyagawa and the contemporary-sounding score of Masaru Sato. Similar to the realism that Rashomon (1950) and Seven Samurai (1954) brought to jidai-geki film-making, Yojimbo had a direct influence on depictions of heightened graphic violence on screen. While Rashômon and Seven Samurai were early and accurate renderings of how physically difficult it is to actually wield a sword, it is in Yojimbo and Sanjuro that the residual effects that swordplay has on human flesh – such as the depiction of severed limbs and arterial spurts – are shown graphically for the first time.
This is no simple exercise in glamorously anaesthetized savagery as in David Fincher’s Fight Club (1999), a film that shares many of the same themes as Bright Future, which makes Mamoru’s crime even more upsetting and inexplicable. Neither does Kurosawa offer up easy answers when Yuji joins up with the gang of youths. The world of the older generation, as represented by Mamoru’s father and others, is obviously falling apart and in ruins, offering nothing to Yuji other than a context and justification for his rebellion.