Book Description
“Extraordinarily valuable, illuminating, and even entertaining, Forest of Pressure brims with the types of information that only a key insider can get his hands on.” —Mitsuhiro Yoshimoto, New York University
Ogawa Productions—known in Asia as Ogawa Pro—was an influential filmmaking collective that started in the 1960s under the direction of Ogawa Shinsuke (1936–1992). Between 1968 and the mid-1970s, Ogawa Pro electrified the Japanese student movement with its Sanrizuka documentary series—eight films chronicling the massive protests over the construction of the Narita airport—which has since become the standard against which documentaries are measured in Japan.
A critical biography of a collective, Forest of Pressure explores the emergence of socially committed documentary filmmaking in postwar Japan. Analyzing Ogawa Pro’s films and works by other Japanese filmmakers, Abé Mark Nornes addresses key issues in documentary theory and practice, including individual and collective cinema production modes and the relationship between subject and object. Benefiting from unprecedented access to Ogawa Pro’s archives and interviews with former members, Forest of Pressure is an innovative look at the fate of political filmmaking in the wake of the movement’s demise.
Abé Mark Nornes is associate professor of screen arts and cultures and Asian languages and cultures at the University of Michigan. He is a coordinator at the Yamagata International Documentary Film Festival and the author of Japanese Documentary Film: The Meiji Era through Hiroshima (Minnesota, 2003).
Book Description
The films of Akira Kurosawa have had an immense effect on the way the Japanese have viewed themselves as a nation and on the way the West has viewed Japan. In this comprehensive and theoretically informed study of the influential director’s cinema, Mitsuhiro Yoshimoto definitively analyzes Kurosawa’s entire body of work, from 1943’s Sanshiro Sugata to 1993’s Madadayo. In scrutinizing this oeuvre, Yoshimoto shifts the ground upon which the scholarship on Japanese cinema has been built and questions its dominant interpretive frameworks and critical assumptions.
Arguing that Kurosawa’s films arouse anxiety in Japanese and Western critics because the films problematize Japan’s self-image and the West’s image of Japan, Yoshimoto challenges widely circulating clichés about the films and shows how these works constitute narrative answers to sociocultural contradictions and institutional dilemmas. While fully acknowledging the achievement of Kurosawa as a filmmaker, Yoshimoto uses the director’s work to reflect on and rethink a variety of larger issues, from Japanese film history, modern Japanese history, and cultural production to national identity and the global circulation of cultural capital. He examines how Japanese cinema has been “invented” in the discipline of film studies for specific ideological purposes and analyzes Kurosawa’s role in that process of invention. Demonstrating the richness of both this director’s work and Japanese cinema in general, Yoshimoto’s nuanced study illuminates an array of thematic and stylistic aspects of the films in addition to their social and historical contexts.
Beyond aficionados of Kurosawa and Japanese film, this book will interest those engaged with cultural studies, postcolonial studies, cultural globalization, film studies, Asian studies, and the formation of academic disciplines.
Customer Reviews:
Japanese Cinema at its best.......2007-08-23
Kurosawa is the master of the Japanese Cinema and this book is a perfect accompaniment to his films. You will not be disappointed!
quite a low-leveled discussion on famous kurosawa.......2007-05-12
I am a Japanese Kurosawa fan. This book is full of already-known knowledges, and fatally lacks detailed analyses of Kurosawa films. The book is full of quotations from the contemporry Japanese banal film reviews, which are not worthy of quoating. Yoshimoto, the author of the book, cannot make original discussions on Kurosawa. He does anything but persuasive discussions. To the Japanese readers, the book is boring to death, full of banal opinions. Yoshimoto has no status to call himself a film scholar. If he reads this book by any chance, Kurosawa must weep in the heaven. Duke University Press should not have published the book, if it wants to be an aclaimed publisher.
Japanese Cinema in Search of a Discipline.......2006-09-28
Sometimes a marginal position in a faculty department or a personal discomfort with established disciplines can provide an impregnable view on the academic world. The tools that academics use for cognition and recognition--assigning people a place in the academic field, distinguishing between major and minor subjects, establishing traditions and ruptures in a particular area of inquiry--are turned inwards and become revealers of one's own position. By understanding his or her own social conditions of production and the position he or she occupies in society, the scholar is able to expose the whole social space that players fully caught in the game can only partially reveal. This act of reflexive lucidity is often perceived as an unforgivable aggression by insiders, who confuse analysis with denunciation, precision with envy, and realism with cynicism. Pierre Bourdieu, who applied this kind of reflexive sociology to the French academic world, was thus the object of constant criticism.
Although he doesn't quote Bourdieu, Matsuhiro Yoshimoto applies a similar methodology to the field of Japanese film studies. By putting Japanese cinema in search of a discipline, he not only reveals the limitations of film studies as an academic discipline, but also the difficulty in aligning a study of a Japanese filmmaker with other intellectual pursuits in the humanities, such as literary criticism, Japanese scholarship, area studies, comparative literature, post-structuralist theory or the new, post-disciplinary discourse of cultural studies.
As noted in his introductory chapter, Japanese cinema played a significant role in the establishment of film studies as a discrete discipline and in the legitimation of cinema as an object of serious academic research. Yet the history of American scholarship on Japanese cinema also reveals the impasse in which the discipline has fallen. From the cult of the auteur that started with Rashomon's Kurosawa to the theoretical turn of post-marxist or structuralist scholarship and the identity politics of cross-cultural studies, Yoshimoto documents the analytical flaws and methodological shortcomings in scholarly discourse on Japanses cinema (and as he wrily notes, "dropping theorists' names [Derrida, Lyotard, Lacan, Barthes] or their key terms [differend, meconnaissance, punctum, grand recit] does not make an analysis of Japanese cinema automatically theoretical.")
If film studies and their mechanical application of what passes as theory in humanities departments have exhausted their critical vein to the point of being "totally repetitive and uninteresting", then can one anchor the study of Japanese cinema in another supporting discipine? Unfortunately, none is in a position to offer much to the kind of film criticism that the author has in mind. For Yoshimoto, Japanese studies suffer from the original sin of their contribution to the wartime effort and the postwar attempt to "modernize" Japan. Besides, because film cannot be either "translated" or "annotated," traditionnally trained literary scholars do not know what to do with Japanese cinema. Movie critics who see in Japanese movies a reflexion of abstract values and Japaneseness are not of much help either. Comparative literature seems at first a more welcoming discipline, but failed to develop a strong body of research methods and results and recently suffered from the onslaught of cultural studies. Indeed, it is under this last label, conceived as post-disciplinary practice or "a tactical intervention in the structures and practices of the established disciplines", that Yoshimoto decides to record his study of Kurosawa movies.
This introductory chapter on Japanese Cinema in Search of a Discipline is itself worth acquiring the book. But the remainder is even more fascinating: after having cleared the space from unwanted cliches and cumbersome interpretations, Yoshimoto then attempts to build his own strand of film studies through a fine-grained and detailed analysis of each and every movie directed by Akira Kurosawa. Each chapter, of variable length, provides a unique perspective to Kurosawa's movies. The book will prove a valuable read not only to film studies scholars, but also to every Kurosawa fan who will discover more reasons to revere their favorite director.
Much more than a study on Kurosawa.......2006-03-23
Although the book covers every film of Kurosawa's career, this is not a work of 'auteur' criticism. In fact, Yoshimoto addresses the very shortcomings of such an approach in the introduction of his text. As suggested by the book's secondary title, the work tackles something much more broad in scope and does so more critically than any other work related to the films of Kurosawa.
First and foremost, what sets this work apart from most studies of either Kurosawa or more generally Japanese cinema (that are published in English) is Yoshimoto's close and careful attention to history. Not only does he 'historicize' both Kurosawa-as-author and his catalogue of films but he also does the same to the recent tradition of criticism on Japanese cinema that has become so popular in Western academia. He convincingly critiques the previous work of Donald Richie, Noel Burch, Stephen Prince (and more briefly David Desser and James Goodwin), and his analysis of Western criticism on Japan as falling into 3 phases (humanist - formalist/marxist - 'cross-cultural') is most helpful.
When I suggest that he 'historicizes' these three methods of critique, I mean he demonstrates how these approaches perhaps worked not to better illuminate the objects 'Kurosawa' and 'Japanese cinema' but to 'naturalize' or legitimate other historical developments 'outside' the intended object of scrutiny. For instance, Yoshimoto argues that humanist and auteur forms of criticism (that were popular in the 1960s) when applied to Kurosawa's films did less to interpret the films-themselves and instead worked to legitimate the contemporaneous formation of 'film studies' as a proper field of scholarship. He goes on to critique the other phases of critical approach in a similar fashion.
Yoshimoto also performs historical critiques of other interpretive frameworks that are often assumed to make sense of Japanese film production. He puts into question the category 'samurai film' as assumed by critics like David Desser by demonstrating its 'orientalist' function in recent 'cross-cultural' discourse. He challenges careless appeals to 'zen' that do less to make sense of films and more to 'essentialize' certain contingent aspects of Japanese culture. Also, he reads the typical grouping of Japanese film into two genres, 'jidaigeki' and 'gendaigeki', in the context of current historical struggles by showing this division to function as a kind of effacement of certain contradictions and invasions that took place in recent global events. These are only some of the enlightening points made throughout this book - mainly the ones that really stuck with me.
As stated before, this book is more than an investigation of Kurosawa - this is a convincing challenge to the practice of 'Japanese film studies' as a discipline. However, in relation to Kurosawa, the highlites (in my opinion) are his readings of 'Stray Dog', 'Seven Samurai', 'Throne of Blood', and 'High and Low'. Personally, I wish there was more on both 'Rashomon' and 'Yojimbo' - but that, in no way, alters my high opinion of this work. By far, this is the best work on Japanese film I have ever read. His writing is clear - his arguments are convincing, and his ideas are original. This is a 5 star work of scholarship.
Also, I recommend reading his article "The Difficulty of Being Radical: The Discipline of Film Studies and the Postcolonial World Order" in 'boundary 2' (Autumn 1991).
A 'vade mecum' for Kurosawa film studies and Japan as such.......2004-02-01
You can turn to the chapter in this sweeping tome of a book on Kurosawa's body of work, focusing on the magnificently situated national/transnational film "High and Low" ([1962] 'heaven and hell,' class warfare within the corporatizing Japan of the postwar city); and read this chapter along with the film's narrative and carefully articulated cinematics of gaze, city, body, and spatial formation. Splendid, wry, compelling, Kurosawa studies are made new by this book, but more importantly postmodern and postwar Japan as such is made to register a whole range of globa/ local/nation-state re-structurations in the (existentially moralized) samurai-struggles and self-other obligated warfares of capital. "National Shoes" beats Andy Warhol's pink glitter versions of the post-Van Gogh-artisinal plight...
Book Description
This book offers an extraordinary close-up of the golden age of Japanese cult cinema from the 1950s through the 1970s. Having unique access to top maverick filmmakers and icons of the genre, Chris Desjardins brings together interviews with and original writings on such directors as Seijun Suzuki (Branded to Kill) and Koji Wakamatsu (Ecstasy of the Angels), as well as performers like Shinichi Sonny Chiba (The Streetfighter, Kill Bill Vol. 1) and Meiko Kaji (Lady Snowblood). Desjardins brings us up to date with a look at Japanese enfants terribles Takashi Miike (Audition) and Kiyoshi Kurasawa (Cure). Illustrated with stills and posters from some of Japans finest cult and action films, the book also provides detailed extras including filmographies and related bibliographies. This is a veritable bible for fans and newcomers alike.
Customer Reviews:
not what I was expecting..........2006-11-17
This book left me a bit disappointed - with it's title,I was hoping for an introduction to the works of many great film makers in which I would discover their talents and merits,and serve as a guidebook for future movie rentals and purchases.Instead,I found the majority of the book somewhat confusing from my Western point-of-view: each "outlaw master" is given a brief career overview,followed by an interview.The interviews are chock-full of references that will be lost on all but the most devoted Japanese film historian: seeing as most(?) of these films have never been screened here,I feel that the audience for this book will be somewhat limited.I would have preferred more in-depth discussion on each respective career,focusing on the movies and their content,as opposed to the author trying to impress the subject with his encyclopedic film knowledge.
Book Description
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.
Customer Reviews:
Japan's Own.......1999-01-26
Being the World Cinema buff that I am, I always ask my friends from other countries what their favorite film from their home countries is. Whenever I've asked a friend from Japan this question, they have unanimously responded by saying "Merry Christmas, Mr. Lawrence" by Oshima Nagisa. Here in the U.S., we are led to presume it would be Kurosawa Akira, but that isn't so. For some reason, Oshima's film about Japan's atrocities during World War II resonate more, if not with most Japanese, with the younger generation with whom I interact. Maureen Turim's book "The Films of Oshima Nagisa" proceeds to tell us why, reviewing beyond Oshima's major features to include his documentaries as well. Along the way, she presents the Eastern and Japanese specific references and influences in Oshima's work rather than assume that Oshima primarily looked to the West for his inspiration as is shown in the over-emphasis in Western reviews of the Brechtian influences and the parallels to Goddard. This book also provides a solid feminist critique of Oshima's films, again with respect to what Feminism means in Japan. This book has trully enhanced my appreciation of Oshima's films and I recommend it highly.
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Ozu's Anti-Cinema (Michigan Monograph Series in Japanese Studies)
Yoshida Kiju
Manufacturer: Center for Japanese Studies University of Mic
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Mizoguchi and Japan
ASIN: 1929280270 |
Book Description
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.
Customer Reviews:
A collection of essays, interviews and film reviews.......2005-01-21
"Contemporary Japanese Film" is a mis-named book. Judging from the title and size, I was expecting something along the lines of a continuation of Donald Richie's seminal "100 years of Japanese film," something bringing equal insight into contemporary Japanese film as Richie brought into the historical. Instead, "Contemporary Japanese Film" is nothing more than a collection of previously published and unconnected essays, interviews and film reviews by Japan-based film critic Mark Shilling. Obviously, someone saw the potential to make money off of existing material, without further work. There are no original articles.
Shilling is a fine film critic and clearly knowledgeable about the modern Japanese film industry. However, either he or his editors do not know how to assemble this knowledge into a useful book. Several of the essays overlap, with the same information in each. For instance, Shilling is clearly a fan of Iwai Shunji's film "Swallowtail," as it is introduced, described and critiqued in several essays, without any acknowledgement that it was introduced only a few pages before in a different essay. Also, several concepts, such as block-booking movies and advanced ticket sales to drive up box office, are talked about but never adequately explained for non-familiar readers.
In addition, although it looks like a thick and potent read, more than half of the book, 250 pages out of a 388 page book, is film reviews, culled from Shilling's column in the English-language Japan times. The majority of these films are not available to Western audiences.
All of this may sound terrible, but the content that is here is of good quality, and once one gets over the initial disappointment of the mis-labeled title, there are a few kernels of insight to pull out of the pages. Probably the most interesting section is the directors interviews, showcasing such luminaries as Kurosawa Akira, Takahata Isao, Itami Juzo, Suo Masayuki (Shall we dance?) and Kitano Takeshi. There are some glaring oversights, such as no Suzuki Seijun, Miike Takashi or Miyazaki Hayao, but I suppose he can't have covered everyone in his newspaper work.
As a book about contemporary Japanese film, it is a failure. As a collection of non-related essays, interviews and film reviews from someone with knowledge and history of modern Japanese film, it is successful.
Useful.......2004-01-20
I found this book to be useful in giving a broad range of information on contemporary Japanese film makers. Although It was not always clear why Schilling had chosen to feature certain directors and not others. I was able to link the directors together which was helpful but I wished there had been more detailed film reviews
Thought Provoking.......2002-02-22
The Japanese reporter for the prestigious Screen International, Mark Schilling gets to see all the new films in advance, and brings not just a reviewer's critical eye, but a linguist's critical ear = his comments on translation and delivery add a whole new dimension lacking from writers who can't speak Japanese. His comments, even where I don't initially agree with them, such as his Poppoya review, are always thought-provoking and worthy of consideration, and his introductory essays on the state of modern Japanese film are unequalled in the current market. Some of the background stories, such as the influence of the Middle Eastern carpet trade on the Japanese film business, are quite mind boggling, bu also bery interesting explanations for some of the strange behaviour of Japanese film producers. An excellent survey of Japanese film in the 1990s, from someone who was there when it all happened.
Everything you need to know about Contemporary Japanese Cine.......2001-11-19
One of the better and hipper books on Japan is the Encyclopedia of Japanese Pop Culture, by Mark Schilling. Schilling is one of the few foreigners who can really distinguish the important icons of Japanese culture from the stuff that's of less interest. It was with great relief that I found his Contemporary Japanese Film, focusing on cinema from the 1990s. Not surprisingly, he makes reference to the golden age of Japanese cinema in the 1950s, including the magnificent talents of Kurosawa, Ozu, and Mizoguchi, in an effort to understand what has gone wrong in the nation's cinema since then: a downward spiral of bad talent and visionless film producers. Ever since, there has been little international attention paid to Japanese cinema except for the interesting work of '60s mavericks Nagisa Oshima and Seijun Suzuki (the "Sam Fuller of Japan").
According to Schilling, there were some new beams of light in the Japanese cinema of the '90s. Leading the pack is filmmaker Takeshi "Beat" Kitano, who has already gotten serious attention in the States and Europe for his stylized gangster films, such as Sonatine (1993); and the hysterical films by the late (and very much missed) Juzo Itami, who made the culinary adventure Tampopo. So it is not surprising that the two most interesting interviews in the book are with these filmmakers. Takeshi must be the hardest-working man in the world: He makes at least two films a year plus eight television episodes a week. He tells a funny story about how on one talk show dealing with food and drink; he fell asleep on television due to the alcohol. The other guests just went on their merry way while commenting every so often on Takeshi's sleeping habits. He claims that there is no pressure doing that much television shows because nothing is planned; it is even relaxing. It is worth noting that, on the side, he has a career as a kind of Japanese David Letterman.
As for Itami, who is known for his television acting as well as his films, his interview focuses on how contemporary Japanese culture is conveyed in different aspects of his film work. Itami has made fun of everything from family practice (The Funeral) to the Japanese Mafia, the Yakuza (as a result, he had his face slashed by a Yakuza member).
The second half of the book includes nearly 400 Japanese film reviews by Schilling, published originally in the Japan Times. I would recommend this book not only to film fans, but also to readers who are interested in contemporary Japanese culture. Schilling, along with American journalist Donald Ritchie, has excellent insight into what makes Japan tick, and also understands the nature of kitsch in Japanese culture
The most comprehensive resource on the subject available.......2000-05-15
Mark Schilling is a film reviewer for one of the Tokyo newspapers, so this book is made up of all the films released in the past 10 years, bundled up with a load of articles/interviews with the like of Shunji `Swallowtail Butterfly' Iwai and Juzo `Tampopo' Itami. He writes very well, but most interesting is the wide diversity of the films reviewed. It's far more comprehensive than Weisser's book, which would have you believe that Pinku Eiga were the only type of films being made in Japan in the 90's. Most of the films reviewed have probably had little release outside of Asia. This definitely the best book out there on the subject.
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Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day
Alexander Jacoby
Manufacturer: Stone Bridge Press
ProductGroup: Book
Binding: Paperback
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ASIN: 1933330538 |
Book Description
This important work fills the need for a reasonably priced yet comprehensive volume on major directors in the history of Japanese film. With clear insight and without academic jargon, Jacoby examines the works of over 150 filmmakers to uncover what makes their films worth watching.
Included are artistic profiles of everyone from Yutaka Abe to Isao Yukisada, including masters like Kinji Fukasaku, Juzo Itami, Akira Kurosawa, Takashi Miike, Kenji Mizoguchi, Yasujiro Ozu, and Yoji Yamada. Each entry includes a critical summary and filmography, making this book an essential reference and guide.
UK-based
Alexander Jacoby is a writer and researcher on Japanese film.
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Japanese Cinema: Texts and Contexts
Alistair Phillips , and
Julian Stringer
Manufacturer: Routledge
ProductGroup: Book
Binding: Hardcover
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ASIN: 0415328470 |
Book Description
Japanese Cinema includes twenty-four articles on key films of Japanese cinema, from the silent era to the present day, providing a comprehensive introduction to Japanese cinema history and Japanese culture and society.
Studying a range of important films, from
Late Spring, Seven Samurai and
In the Realm of the Senses to
Godzilla, Hana-Bi and
Ring, the collection includes discussion of all the major directors of Japanese cinema including Ozu, Mizoguchi, Kurosawa, Oshima, Suzuki, Kitano and Miyazaki.
Each chapter discusses the film in relation to aesthetic, industrial or critical issues and ends with a complete filmography for each director. The book also includes a full glossary of terms and a comprehensive bibliography of readings on Japanese cinema.
Bringing together leading international scholars and showcasing pioneering new research, this book is essential reading for all students and general readers interested in one of the world's most important film industries.
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