NOTA |
()(LBM-0017Ly LBM-0024L son mismos libros.)(Called Lthe dean of JapanLs arts criticsL by Time magazine and acknowledged as the foremost Western authority on the Japanese film, Donald Richie gives us an incisive, detailed, and highly illustrated history of the countryLs cinema. From its inception in the late 1800s through the achievements of Kurosawa, Mizoguchi, Ozu, and on to the notable works of todayLs young filmmakers, this concise but panoramic history offers an unparalleled view of the growth and development of the motion picture in Japan.@^As Paul Schrader writes in his perceptive foreword, RichieLs new accounting of the Japanese film Lretains his sensitivity to the actual circumstances of film production (something filmmakers know very well but historians often overlook)... and shows the interweave of filmmaking --the contribution of directors, writers, cinematographers, actors, musicians, art directors, as well as financiers.L@^Of primary interest to those who would like to watch the works introduced in these pages, Richie has provided capsule reviews of the major subtitled Japanese films commercially available in VHS and DVD formats. The American distributors of these films are listed, as are the Japanese makers of important non-subtitled VHS/DVDs discussed in this volume. For the first time under one cover, the interested reader now has a concise guide to available films alongside what he or she is reading about.@Former Curator of Film at the New York Museum of Modern Art, Donald Richie has written some forty books on Japan and its people. The film version of his travel classic, LThe Inland SeaL, has been shown on PBS and won several prizes at international film festivals, as well as the National Geographic Earth Award. LPublic People, Private PeopleL, his portraits of famous and far-from-famous Japanese, received praise from many quarters. Of RichieLs two collections of essays, LA Lateral View and Partial ViewsL, Susan Sontag has said : LDonald Richie writes about Japan with an unrivaled range, acuity, and wit.L RichieLs collected writings on Japan, his adopted home for over fifty years, appear in LThe Donald Richie Reader (2001)L.@„CONTENTS^@I-A CONCISE HISTORY OF JAPANESE FILM^@1.Beginnings and the Benshi^Film, Theater, and Actors^Realism and Reality^Western Influences^LShingekiL and New Narrative Tactics^The LGendaigekiL^@2.Taisho Democracy and Shochiku^The New Gendaigeki : Shimazu, Gosho, Shimizu, Ozu, and Naruse^The New LJidaigekiL : Itami, Inagaki, ito, and Yamanaka Sadao^Nikkatsu and the LShimpaL : Mizoguchi Kenji^Expressionism, Kinugasa Teinosuke, and the Leftist Film^Criticism and Crackdown : World War II^@3.The Occupation of Japan^Postwar Developments^Ozu and Naruse^Mizoguchi and the Period-Film^New Means : LJun-bungakuL, Comedy, and Social Issues^@4.The Advent of Television and the FilmLs Defenses : Suzuki, Nakahira, Kawashima, and Imamura^The Early Independents : Hani and Teshigahara^The LNew WaveL : Oshima, Yoshida, and Shinoda^After the Wave^@5.Making Audiences^The New Independents^Documentary and LAnimeL^Conclusion^@II-A SELECTIVE GUIDE TO VIDEOS AND DVDs^) |