The Films Of Oshima Nagisa
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| Author | : Nagisa Oshima |
| Publisher | : MIT Press |
| Total Pages | : 321 |
| Release | : 1993-08-13 |
| Genre | : Performing Arts |
| ISBN | : 0262650398 |
The texts in this volume make up an intellectual autobiography that reveals a rare conjunction of personal candor and political commitment. Nagisa Oshima is generally regarded as the most important Japanese film. director after Kurosawa and is one of Japan's most productive and celebrated postwar artists. His early films represent the Japanese New Wave at its zenith, and the films he has made since (including In the Realm of the Senses and Merry Christmas, Mr. Lawrence) have won international acclaim. The more than 40 writings that make up this intellectual autobiography reveal a rare conjunction of personal candor and political commitment. Entertaining, concise, disarmingingly insightful, they trace in vivid and carefully articulated detail the development of Oshima's theory and practice.The writings are arranged in chronological order and cover the period from the mid-1950s to the mid-1980s. Following a historical overview of the contemporary Japanese cinema, a substantial section articulates the theoretical and political rationale of 0shima's film production. Among many other topics considered in his essays, Oshima questions the economics of film production, the ethics of the documentary film, censorship (both political and sexual), and the relation of aesthetics and social taboos. A filmography and notes round out this important collection.
| Author | : Maureen Turim |
| Publisher | : Univ of California Press |
| Total Pages | : 327 |
| Release | : 1998-08-26 |
| Genre | : Performing Arts |
| ISBN | : 0520206665 |
For almost 40 years, Japan's Oshima Nagisa has produced provocative films that have provided running commentary, direct and indirect, on the cultural and political tensions of postwar Japan. Nagisa engages issues of sexuality and power and domination and identity, which author Maureen Turim explores in relation to psychoanalytic and postmodern theory. 66 photos.
| Author | : David Desser |
| Publisher | : Indiana University Press |
| Total Pages | : 260 |
| Release | : 1988-05-22 |
| Genre | : Performing Arts |
| ISBN | : 9780253204691 |
The decade of the 1960s encompassed a "New Wave" of films whose makers were rebels, challenging cinematic traditions and the culture at large. The films of the New Wave in Japan have, until now, been largely overlooked. Eros plus Massacre (taking its title from a 1969 Yoshida Yoshishige film) is the first major study devoted to the examination and explanation of Japanese New Wave film. Desser organizes his volume around the defining motifs of the New Wave. Chapters examine in depth such themes as youth, identity, sexuality, and women, as they are revealed in the Japanese film of the sixties. Desser's research in Japanese film archives, his interviews with major figures of the movement, and his keen insight into Japanese culture combine to offer a solid and balanced analysis of films by Oshima, Shinoda, Imamura, Yoshida, Suzuki, and others.
| Author | : Maureen Turim |
| Publisher | : Univ of California Press |
| Total Pages | : 327 |
| Release | : 2023-04-28 |
| Genre | : Performing Arts |
| ISBN | : 0520918282 |
This study of the films of Oshima Nagisa is both an essential introduction to the work of a major postwar director of Japanese cinema and a theoretical exploration of strategies of filmic style. For almost forty years, Oshima has produced provocative films that have received wide distribution and international acclaim. Formally innovative as well as socially daring, they provide a running commentary, direct and indirect, on the cultural and political tensions of postwar Japan. Best known today for his controversial films In the Realm of the Senses and The Empire of Passion, Oshima engages issues of sexuality and power, domination and identity, which Maureen Turim explores in relation to psychoanalytic and postmodern theory. The films' complex representation of women in Japanese society receives detailed and careful scrutiny, as does their political engagement with the Japanese student movement, postwar anti-American sentiments, and critiques of Stalinist tendencies of the Left. Turim also considers Oshima's surprising comedies, his experimentation with Brechtian and avant-garde theatricality as well as reflexive textuality, and his essayist documentaries in this look at an artist's gifted and vital attempt to put his will on film. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1999. This study of the films of Oshima Nagisa is both an essential introduction to the work of a major postwar director of Japanese cinema and a theoretical exploration of strategies of filmic style. For almost forty years, Oshima has produced provocative film
| Author | : Mark Schilling |
| Publisher | : Shambhala Publications |
| Total Pages | : 401 |
| Release | : 1999-11-01 |
| Genre | : Performing Arts |
| ISBN | : 0834804158 |
This comprehensive look at Japanese cinema in the 1990s includes nearly four hundred reviews of individual films and a dozen interviews and profiles of leading directors and producers. Interpretive essays provide an overview of some of the key issues and themes of the decade, and provide background and context for the treatment of individual films and artists. In Mark Schilling's view, Japanese film is presently in a period of creative ferment, with a lively independent sector challenging the conventions of the industry mainstream. Younger filmmakers are rejecting the stale formulas that have long characterized major studio releases, reaching out to new influences from other media—television, comics, music videos, and even computer games—and from both the West and other Asian cultures. In the process they are creating fresh and exciting films that range from the meditative to the manic, offering hope that Japanese film will not only survive but thrive as it enters the new millennium.
| Author | : Yomota Inuhiko |
| Publisher | : Columbia University Press |
| Total Pages | : 305 |
| Release | : 2019-04-16 |
| Genre | : Performing Arts |
| ISBN | : 0231549482 |
What might Godzilla and Kurosawa have in common? What, if anything, links Ozu’s sparse portraits of domestic life and the colorful worlds of anime? In What Is Japanese Cinema? Yomota Inuhiko provides a concise and lively history of Japanese film that shows how cinema tells the story of Japan’s modern age. Discussing popular works alongside auteurist masterpieces, Yomota considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in its historical, technological, and global contexts. Yomota shows how Japanese film has been shaped by traditonal art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry’s rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Yomota provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography. An incisive and opinionated history, What Is Japanese Cinema? is essential reading for admirers and students of Japan’s contributions to the world of film.
| Author | : Catherine Russell |
| Publisher | : U of Minnesota Press |
| Total Pages | : 284 |
| Release | : 1995 |
| Genre | : Art |
| ISBN | : 9780816624867 |
What seems like closure might be something more, as Catherine Russell shows us in this book about death in narrative cinema since the 1950s. Analyzing the structural importance of death in narrative endings, as well as the thematics of loss and redemption, Russell identifies mortality as a valuable critical tool for understanding the cinema of the second half of the twentieth century. Her work includes close textual readings of films by Fritz Lang, Wim Wenders, Oshima Nagisa, Jean-Luc Godard, and Robert Altman, among others. In these analyses, Russell reveals an uneasy relationship between death and closure, which she traces to anxieties about identity, gender, and national-cultural myths, and also to the persistence of desire. Drawing on the work of Walter Benjamin, she shows us death as a fundamentally allegorical structure in cinema - and as a potential sign of historical difference, with crucial implications for theories of film narrative and spectatorship. "Narrative Mortality" provides an insight into the dynamics of postmodern cinema as it emerged from the modernist preoccupation with existential mortality. By tracing the role of death from a work that precedes the Brechtian cinema of the 60s ("Beyond a reasonable doubt") to several that succeed it ("Nashville", "The State of things"), the book expands the narrative project of new wave cinema and ushers it onto a broad historical plane.
| Author | : Yuriko Furuhata |
| Publisher | : Duke University Press |
| Total Pages | : 277 |
| Release | : 2013-09-13 |
| Genre | : Performing Arts |
| ISBN | : 0822355043 |
During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events. Known as the "season of politics," the era was filled with widely covered dramatic events from hijackings and hostage crises to student protests. This season of politics was, Yuriko Furuhata argues, the season of image politics. Well-known directors, including Oshima Nagisa, Matsumoto Toshio, Wakamatsu Kōji, and Adachi Masao, appropriated the sensationalized media coverage of current events, turning news stories into material for timely critique and intermedial experimentation. Cinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television. Furuhata demonstrates how avant-garde filmmaking intersected with media history, and how sophisticated debates about film theory emerged out of dialogues with photography, television, and other visual arts.
| Author | : Derek Malcolm |
| Publisher | : Tauris Parke Paperbacks |
| Total Pages | : 196 |
| Release | : 2000 |
| Genre | : Performing Arts |
| ISBN | : |
Invited by The Guardian newspaper to explore his choice of 100 films in the millennium in a weekly column spanning two years, film writer and critic Derek Malcolm set out on a project which has attracted much attention. This book is a critical celebration of unparalleled knowledge and understanding of what cinema can achieve. Malcolm not only pleases to filmgoers, but introduces readers to films that they may not yet have discovered.
| Author | : Isolde Standish |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 210 |
| Release | : 2011-06-02 |
| Genre | : Performing Arts |
| ISBN | : 1441125183 |
A superb new study of Japanese culture in the post-war period, focusing on a handful of filmmakers who created movies for a politically conscious audience.
