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DB: BASE de DATOS, Biblioteca del Centro Cultural de la Embajada de Japon
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作成日:2019/07/21 01:54:10 JST最終更新日:2019/07/24 23:02:21 JST
RUBRO PELICULA JAPONESA
TITULO What Is Japanese Cinema (A History) (★)
AUTOR Yomota Inuhiko
EDITORIAL Columbia University Press
ISBN 978-0-231-1916-23
IDIOMA INGLES
CODIGO INTERNO BM-0052
NOTA (★)(Samurai. Godzilla. The life of a traditional Japanese family unfolding in tatami-mat rooms. The brute violence of yakuza films and the pure ´shoojo´girls of anime. For most film lovers in English-speaking areas this is the image of Japanese cinema. This view isn´t wrong. These are certainly essential elements of Japanese cinema. This book, however, was written for people who want to know the ways in which these elements are related to one another or who have an intellectual interest in the deeper world hidden in the background. It is the tale of how the Japanese people took an optional machine originally invented in the West --cinematograph-- and made it their own, absorbing it and utilizing it to create a distinctive culture. In other words, it is none other than the story of modernity in Japan. When encountering a work of art, you must always be wary of a certain trap. That is the temptation to praise a work before really understanding it. I hope that readers will come to see that behind any film they have watched and enjoyed there is a huge accumulation of culture and that no single work is complete in itself but always emerges as part of a chain of relationships to history. Conversely, another viewpoint insists that Japanese cinema must be seen as part of the culture of Japan. After all, the camera movements of Mizoguchi Kenji are strongly influenced by the methods of traditional Japanese painting. Kurosawa Akira borrows many of the themes for his works from Kabuki --the popular theater of Edo period Japan. Youth melodramas of the 1960s are sharply inscribed with the class divisions of postwar Japanese society, and to understand the anime of Miyazaki Hayao, one must know about the distinctive imaginative world of Japanese folklore. From this perspective, it is impossible to ignore cinema´s intimate connections with Japanese culture, from literature to painting and theater. Or rather, you need to know not just culture but also the realities of Japanese history and society. Only when one can understand both the images in the hearts of the people who made Japanese films and those in the hearts of those who laughed or cried along when they watched those films is it possible to grasp the depth of Japanese cinema. As a film historian, I would be delighted if Japanese cinema becomes a launching pad for the readers of this book to develop a general interest in Japanese people and Japanese culture. At the same time, I believe it would be equally wonderful if an encounter with Japanese films stimulates readers´ interest in seeing more films from around the world.)

   

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