By Donald Richie

Completely revised and up-to-date, the most recent version of this authoritative quantity through Donald Richie, the major Western specialist on eastern movie, provides us an incisive, specified, and entirely illustrated historical past of the country's cinema.
Called "the dean of Japan's arts critics" through Time journal, Richie takes us from the inception of eastern cinema on the finish of the 19th century, in the course of the achievements of Kurosawa, Mizoguchi, and Ozu, then directly to the outstanding works of up to date filmmakers. This revised variation comprises analyses of the most recent developments in eastern cinema, akin to 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 situations of movie creation (something filmmakers understand rather well yet historians usually disregard) . . . and indicates the interweave of filmmaking—the contributions of administrators, writers, cinematographers, actors, musicians, paintings administrators, in addition to financiers."
Of basic curiosity to people who want to watch the works brought in those pages, Richie has supplied tablet reports of the most important subtitled eastern motion pictures commercially to be had in DVD and VHS codecs. This consultant has been up-to-date to incorporate not just the simplest new motion picture releases, but in addition vintage movies on hand in those codecs for the 1st time.

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It is composed of a number of stories, taken from foreign sources, which are then -l dr Sou/s on the Boad, 1921 , Murata Minoru, with Minami Komei, Tsutami Takeo. reconbined in a style sirnilar to that of profitable Intoluance. The main story, two ex-cons on tlre road, was culled from the shingeki adaptation of Maxim Gorky's The Lower Depths; the wastrel son who returns home with wife and child is from a story called "Children of the Streets" by aonce-popular Gerrnan author named Wilhelm Schmidtbaum; and the pastoral romance between the daughter of the house and a working-class youth owes much to the Bluebird Photoplays.

1919. It was the story of a country girl (HanayagtHarumi) who falls in love with an urbatr arrstocrat (Murata Minoru). In a playful rnoment, the girl asks hirn the meaning of life. He lightly responds that it is to do whatever one likes. When he does just that and abandons her, she attempts to drown herself but is saved. The aristocrat reappears, repents, and the films ends with the sober statement "Life Is Effort," sllperimposed upou a shot of the dawn of a new day. One critic called the novie shirnpa with irnitation Western titles.

In addition, what instruction they received was to be indirect. Hertry Kotani, orre of this group, is famous for having attempted to create f,ear by announcing that a lion was preparing to pounce, though there was nothing about any such anirlal in the script. Though anecdotes such as these may indicate cultural rnisapprehension, some of the methods matched Japanese examples. Except for the biggest nanes, actors are often treated in just such au Lursympathetic manner. Some of the finest perforrnances in Japanese cinema were given by the actors working for Ozu Yasujiro, a director who famously used the Taguchi-Kotani approach.

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