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(★)(Over the last two decades, the reputation of Japanese films has spread internationally, and this fact is witnessed by the publication of numerous books on the subject. However, all these studies on film have been written by Western specialists, from a Western point of view, which makes this book --the first work in English by a Japanese film critic-- particularly interesting as well as unique. ／Tadao Sato is regarded as the leading film critic in Japan, and this volume is a selection of some of his best essays on film. A prolific writer and avid movie reviewer for the past thirty years, he has published some sixty-five books on film and other aspects of popular culture. Perhaps one reason for his enormous following is that he is neither rigidly academic nor overly intellectual, preferring to place his emphasis on understanding the feelings of ordinary people. To Sato, film is an accurate mirror of any social change or development. ／As a Japanese, Tadao Sato´s critical standpoint is markedly different from that of Westerners. He is less prone to aesthetic considerations alone and is far more sensitive to the intricacies of historical events within Japan and the idiosyncrasies of Japanese culture. Throughout this collection of essays --whether he is discussing Ozu´s camera techniques or the role of the father in Kurosawa´s movies-- his writing is unmistakably tinged with his inside knowledge of Japanese society. ◆Tadao Sato was born in Niigata, Japan, in 1930 and published his first book, ´Nihon no eiga (Japanese Film)´ in 1956. Since then he has written over sixty others and has also served as editor-in-chief of the film magazines ´Eiga hyoron´ and ´Shiso no kagaku.´ From 1968 he has been chairman of the Japan Film Pen Club, whose members include leading Japanese film critics, television producers, and magazine editors. He is on the administration of the Tokyo National Museum of Modern Art Film Center, a director of the Japan Film Library Council, and a member of The Japan Foundation´s film committee. He has appeared as film commentator for NHK television and his essays have been translated in noted film magazines such as ´Sight and Sound´ and ´Cahiers du cinema´. ／Gregory Barrett was born in Chicago and received his M.A. in Asian Studies from the University of California in Berkeley. In 1976 he worked on a project sponsored by the U.S. Office of Education that uses video tapes of Japanese television programs for intermediate language teaching at several universities in America. He now lives in Tokyo, where he researches Japanese film and teaches English and inter-cultural communication at the Japanese-American Conversation Institute in Yotsuya. ▼CONTENTS／ ●1.The Two Leading Men in Japanese Film／ ●2.The Influence of Foreign Films／ ●3.Developments in Period Drama Films／1.New Heroes (The Nihilistic Hero, The Free Spirit Hero, Musashi Miyamoto)／2.Bushido／3.Modern Yakuza Films／ ●4.Film Heroines／1.Their Occupations／2.The Unfortunate Woman／3.Beautiful Women／4.Women and Karma／5.Women and Freedom／ ●5.Japanese War Films／1.´National Policy Films´／2.The Postwar ´Conversion´／ ●6.The Meaning of Life in Kurosawa´s Films／ ●7.The Family／1.Kurosawa´s Fathers／2.Ozu´s Fathers／3.The ´Home Drama´ Genre／ ●8.The Villain／1.The Change in His Image／2.Transfigurations of Evil／ ●9.Cinematic Techniques／1.Mizoguchi／2.Ozu／3.Eye Behavior in the Films of Ozu and Naruse／ ●10.American-Japanese Relations in Japanese Films／1.The Bomb／2.The ´Rashamen´ Genre／ ●11.Developments in the 1960s／1.The Background : Hani and Masumura／2.The Rebel and the Criminal : Oshima／3.Evanescence and Humor : Suzuki／4.Sex and Violence／5.Cinematic Guerrillas／ ●12.Developments in the 1970s／) |
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