By Donald Richie

Completely revised and up to date, the most recent variation of this authoritative quantity through Donald Richie, the major Western specialist on jap movie, provides us an incisive, unique, and completely illustrated historical past of the country's cinema.
Called "the dean of Japan's arts critics" by way of Time journal, Richie takes us from the inception of jap cinema on the finish of the 19th century, during the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the striking works of latest filmmakers. This revised variation comprises analyses of the newest tendencies in eastern cinema, reminiscent of the revival of the horror style, and introduces today's up-and-coming administrators and their works.
As Paul schrader writes in his perceptive foreword, Richie's accounting of the japanese movie "retains his sensitivity to the particular conditions of movie creation (something filmmakers comprehend rather well yet historians usually disregard) . . . and exhibits the interweave of filmmaking—the contributions of administrators, writers, cinematographers, actors, musicians, artwork administrators, in addition to financiers."
Of fundamental curiosity to people who wish to watch the works brought in those pages, Richie has supplied pill stories of the most important subtitled jap movies commercially on hand in DVD and VHS codecs. This consultant has been up to date to incorporate not just the easiest new motion picture releases, but additionally vintage motion pictures on hand in those codecs for the 1st time.

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Extra resources for A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos

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As early as 1908, the means to insure steady profits had already been sought. Kawaura Kenichi of Yoshizawa Shokai (provider of the 1904 footage of the Russo-Japanese War and the first production company to have an in-house "story departrnent") returned fron in 190S afact-fiLrding world tour and proceeded to construct in To$o's Meguro Ward a studio like Edison had in the Bronx and, behind it, a villa like Georges Mdlids's in Paris, an indication of big-business intentions. In the same year, Urneya Shokichi decided that exploitation was one of the ways to make money.

The combination of traditional (East) and modern (West) forrned the patterns tlrat gave the prewarJapanese film both its traditional base and its nodernistpatina. That such a n-EIartge of influences as those creating Sotils on the Road should have produced a film still enjoyable after eighty years indicates something about the Japanese aes- thetic and its universalify. What one sees and retains in Souls on the Road are pffiallels, not conflicts. This is true not only of the characters and their problems but also of their very position within the cinematic world they inhabit.

One of the first shingeki adaptations indeed proved popular. ) was Hosoyama Kiyomatsu's story. fleast to the extent thatit used "authentic" Russian costumes- and, though it used oyama instead of actresses and stuck to other stagey conventions, it nonetheless impressed many moviegoers. Playwright Akimoto Matsuyo described the picture as magnificent, adding that he had truly felt whatever it was thal, so agitated the heroine Katsush a, an emotional response presumably not afforded by priorJapanese films.

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