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About Love, Tokyo (Ai ni tsuite, Tokyo), 179
actors, 67; Chinese, 46; Ishihara different type of, 124–125; jidaigeki vs. gendaigeki, 47; Kabuki expressionless and, 45–46; Korean, 3, 90, 135, 190–191; large face requirement for, 124–125; multiple roles played by, 33; nonprofessional, 65–66; social standing of Kabuki, 201; talkies impact on, 59–60
actresses, 13, 14; arrival of, 41–44, 204n14; directors starting out as, 191; early shinpa, 58, 207n3; first female star, 42; iconic scandalous, 206n13; Italian-style portrayal of, 133; Mizoguchi most important, 67, 208n9. See also onnagata
Air Doll (Kūki ningyō), 199
Akame 48 Waterfalls (Akame shijūya taki shinjū misui), 197
All Japan Proletariat Arts Federation (Nippona Artista Proleta Federacio, NAPF), 54
All Under the Moon (Tsuki wa dotchi ni dete iru), 180
Always: Sunset on Third Street (Always: Sanchōme no yūhi), 190
Amateur Club (Amachua kurabu), 18, 43, 43
American films, first screenings of, 41
anti-Japanese films, 87, 94, 95
Asakusa Entertainment Hall, in Tokyo, 29–30, 30
Asano Takuminokami, 205n9
avant-garde approach, 50, 144
Awakening of Japan, The (Nihon no kakusei), 31
Ball at the Anjō House (Anjōke no butōkai), 103–104
Batā kusai (films influenced by West), 202n4
Battles Without Honor and Humanity (Jingi naki tatakai), 153, 154
benshi (narrators), 33, 50, 85; break away from, 45; cultural context of, 36–37, 206n14; earliest record of, 35; garb worn by, 35; intertitles replacing, 40; in Korea, 87; peak of, 53–54; resurrection of, 23; for silent films, 15; storytelling and, 36–37, 202n3, 206n14; talkie impact on, 15–16, 60, 61; Western version of, 35–36
Berlin Film Festival, 145, 153
Blood and Bones (Chi to hone), 196–197
Blood Stains (Xie Hen), 84
Blue Mountains, The (Aoi sanmyaku), 104
Borrowed Life, A (Tò-sàng), 85
box office returns, in 2000s, 188
Brecht, Berthold, 68, 135
burlesque, Brechtian, 135
censorship, 44, 84, 85; American film importing, 19; under American occupation, 99–108; of controversial queen as subject matter, 48–49; idea films during Occupation, 102–104; of jidaigeki, 52, 79, 100–101, 109, 203n11; in Korea, 87, 88; prewar films destruction and, 101–102, 138; of Roman Porno, 150; self-regulating agency and, 188; by shogunate, 205n9; wartime, 72
chiaroscuro technique, 49
Chikamatsu Monzaemon, 136
China Nights (Shina no yoru), 92
Chinese Nationalist Army, 95
Chūji’s Debut (Chūji uridasu), 63, 63
Cinema Japanesque line, 175
Civil Censorship Detachment (CCD), 100
Civilian Information and Education Division (CIE), 99–100, 107
colonies and colonization, Japanese, 55, 83, 85, 209n3; Japanese residence of people from, 180; Korean, 86, 89; loss of, 98; Manchukuo, 74, 90, 94, 95, 209n3; 1990s ethnicity and former, 180; of Taiwan, 26, 82; war time, 76
comedy, 8, 18, 43, 62, 105, 116, 121; of “Enoken,” 30, 60, 119; erotic, 193; nonsense, 47; silent films of Oyama as, 59. See also black humor
composers, Western music introduced by, 207n2
computer-generated (CG) compositing, 188, 190
“data,” films of 2000s and, 21
Desperado Outpost (Dokuritsu gurentai), 130
directors, filmmakers and: from eight-millimeter independent film movement, 167; expelling of, 114; first, 31–33, 44; GHQ purge of, 104–105; idealist, 67; loved by youth, 173; military alliance during wartime, 73–74; most trusted, 121; 1930s, 65–66; 1970s, 149, 160–162; 1980s, 166–168, 170–173, 185; 1990s, 153, 168, 171–173, 174–185; noteworthy jidaigeki, 52–54; onnagata becoming, 48–50; poet-, 159; return of 1960s, 168–170; second-generation Korean, 88–90, 89, 90; in support of war policy, 77; 2000s, 196–199; wartime response of, 79–81, 209n7; women, 191–194; youngest international, 185. See also specific directors; specific studios
double-bill programs, 115
Drunken Angel (Yoidore tenshi), 106
Earth and Soldiers (Tsuchi to heitai), 75–76
Edo period, 10, 12, 52, 139; gōmune, 155; Kabuki flourishing during, 28, 203n11; S. Makino and, 31–32; theater, 29–30, 201n2, 203n12
eiga geki (film play), 45
eight-millimeter movement, 167
Emperor’s Naked Army Marches on, The, 167
Enomoto Ken’ichi (“Enoken”), 30, 60, 119
Eternity (Wàn shì liú fāng), 95
Exchange Student Chua Swee Lin (Ryūgakusei Chua Sui Rin), 160
expressionless style, of acting, 45–46
Fallen Flowers (Hana chirinu), 69
Family Game (Kazoku gēmu), 173
Farewell to the Ark (Saraba hakobune), 169
feature films, advent of, 158
femininity, women directors and, 191
Fighting Soldiers (Tatakau heitai), 78
Five Men from Tokyo (Tokyo gonin otoko), 105
Five Scouts (Gonin no sekkōhei), 74–75, 75
Foggy Harbor (Kiri no minato), 48
Gate of Hell (Jigokumon), 113
gendaigeki (contemporary pieces), 21, 44, 46–47, 101, 203n8; censorship of, 52; shinpa origin of, 34; with topknots, 63
gendaigeki (contemporary plays), 203n8
genres: Hollywood, 17–18; horror, 194–196; kaiju eiga, 117, 118; modern theater, 13–14, 204n13; neorealism, 18; new national drama, 13; Nihonjinron writing, 121, 210n3; 1920s mata tabi mono, 52; shin kokugeki (New Japanese National Drama), 13. See also gendaigeki; jidaigeki; shingeki; shinpa
German expressionism, 41, 50
Ghost in the Shell (Kōkaku kidōtai), 177, 177, 183
ghosts, in horror genre of 2000s, 195–196
Ghost Stories of Yotsuya: A New Interpretations (Shinshaku Yotsuya kaidan), 100–101
Glow of Life, The (Sei no kagayaki), 40
Gohō, the Righteous Man (Gijin gohō), 84
gōmune (outcast entertainers), 155, 213n4
Great Eastern Japan Earthquake, 186
Great Kanto Earthquake, 21, 44
Heat-Haze Theater (Kagerōza), 168, 173
Hollywood, 6–7, 46, 59, 93, 194; Japanese versions of, 17–18; Philippines as influenced by, 96; Tokyo studio branches, 40
Homeless Angel (Jibeopneun chensa), 88
How Green Was My Valley, 97
Hula Girls (Fura gāru), 191
Human Bullet, The (Nikudan), 131
Humanity and Paper Balloons (Ninjō kami fūsen), 16, 17
individual, film focus on, 166
In Search of Mother (Mabuta no haha), 52, 207n8
internationalism, 1990s increasing, 176–178
Italian cinema, Masumura and, 7–8
It’s Tough Being a Man (Otoko wa tsurai yo) series, 149, 155, 164, 175
Japan: economic sanctions on, 73, 208n2; 1890s, 25; surrender of, 99
Japanese cinema: annual number of films, 20, 72, 91–92, 176; Cinema Japanesque, 175; city centers of, 21–22, 31; commonality and consistency question of, 3–4; cultural context and, 9–10; defining, 2–4, 22; distinguishing characteristic of, 35–37; as eiga genre, 39, 45, 117, 178; emergence of, 5, 26–27; fallow period in, 21; first feature film, 28; first New York release in, 69; “Japanese-ness” and, 45–46; Masumura critique of, 7–9, 14; “moving pictures” and, 39; multi-language, 23; Noh as separate from, 6, 29; oldest extant film, 28–29, 29; peaks in, 19–22; postwar, 99, 104, 107, 121–122, 137, 211n6; shift from motion pictures to, 45; social position of, 5–7, 33, 73; state control of, 73; viewership, 5, 20, 109, 127, 176. See also specific topics
Japanese essence, theory and genre of, 121, 210n3
Japanese invasion, of China, 62, 70, 137
Japanese Motion Picture Corporation. See Nikkatsu
Japanese Proletariat Film Federation (NCPF), 54
Japanese roles, in Hollywood, 46
Japan Sinks (Nihon chinbotsu), 186
Japan’s Longest Day (Nihon no ichiban nagai hi), 130–131
jidaigeki (period pieces), 11, 20, 47, 203n8; benshi and, 15; censorship and, 52, 79, 100–101, 109, 203n11; city specializing in, 21; Daiei studio, 119; golden age of, 22; history films of, 66–67, 209n8; Kabuki influence on, 12–13; Kinugasa’s bewitching, 50; 1920s, 50–54; 1930s, 61–63; 1950s, 122–123; original form of, 34; outdoor filming of, 31; resumption of, 108; revival of, 154–155; shift toward, 44; S. Makino style of, 54; source for, 51
Jiraiya the Hero (Gōketsu jiraiya), 4
Junk Food (Janku fūdo), 179
Kabuki (old wave), 48, 183; actors standing in society, 201; censorship and, 203n11; Edo period, 28, 203n11; expressionlessness in, 45–46; “film,” 169; films sourced in, 16, 205n7; Japanese cinema viewed by, 5–6, 12, 28, 206n7; reform movement, 13; shinpa distinguished from, 27
Kawakita Nagamasa, 95, 105
Kid Commotion (Kodakara sōdō), 47
King Kong vs. Godzilla, 118
Komatsu, Akihito (Prince), 24
Kurosawa Akira, 4, 20, 45, 181, 206n13; first color film of, 130; idea films and, 102, 103; Italian praise of, 8; King Lear adapted by, 19; 1950s works by, 116; 1960s techniques and films of, 130; No Regrets for Our Youth censorship, 102, 103; prizes won by, 112–113; production abroad of, 168; rise of, 106–108; after Second World War, 99; war avoided by, 99; wartime film and, 80, 81; work from abroad, 149
Late Spring (Banshun), 14
Leningrad Film School, 78
Letter, The (Akanishi Kakita), 62
Lieutenant’s Daughter, The (Taii no musume), 58
Life of Matsu the Untamed, The (Muhō Matsu no isshō), 63
Life of Wandering, A (Hōrō Zanmai), 63
Listen to the Voices from the Sea! (Kike wadatsumi no koe), 110
Long Cherished Dream (Changhanmong), 87
Lovebirds’ Song Contest (Oshidori uta gassen), 79–80
Love in the Storm (Aizen katsura), 64
Lumière cinematograph, 9, 24, 26, 82
Maiden of the Mountains (Miyama no otome), 40
Márquez, Gabriel García, 169
masculinity, Masumura on need for aesthetic of, 8
mata tabi mono (stories of wandering gamblers), 52
Meiji period, shinpa and, 28
melodramas (haha mono), 44, 64, 120; Chikamatsu, 136; historical consciousness in 2000s, 190–191; Hollywood sources for, 17–18; in Korean film, 88; literary sources for, 25, 204n3; Masumura criticism of, 7–9; shinpa and Western, 14; for women, 121. See also shinpa
Men Who Tread on the Tiger’s Tale, The (Tora no o o fumu otokotachi), 99
Minamata: The Victims and Their World (Minamata: Kanjasan to sono sekai), 160–161
Mizoguchi Kenji, 5, 9, 20, 33, 58, 59, 133; democracy studied by, 106; “Japanese-ness” and, 45; mastery in later works by, 120; prizes won by, 113; realism and innovations of 1930s, 67–68; Second World War end and, 99; shinpa story adapted in film by, 27, 205n6; tendency films of, 55; turning point for, 120; after war, 99; wartime films of, 79; on Western and Japanese painting, 12
monsters, kaiju eiga genre of, 117, 178
Morning for the Ōsone Family (Ōsoneke no ashita), 105
Motion Picture World (katsudō shashinkai), 39
moving pictures (Katsudō shashin), 39
My Nightingale (Watashi no uguisu), 94, 210n6
nationalism, 18, 19, 26, 58, 74–77; circumventing wartime policy and, 79–80; fascism and extreme, 70–71; Godzilla and, 118; tendency films and, 55; wartime documentaries and, 30–31
Nausicaä of the Valley of the Wind (Kaze no tani no naushika), 1
Neighbor’s Wife and Mine, The (Madamu to nyōbō), 58, 208n4
New Version of the Cuckoo, A (Shin hototogisu), 38
New York, first Japanese movie release in, 69
Night and Fog in Japan (Nihon no yoru to kiri), 134–135
Nikkatsu (Japanese Motion Picture Corporation), 18, 20, 22; bankruptcy, 149; delayed talkies of, 59; eccentric geniuses of, 141–142; Man’ei featuring directors from, 91; most important actors of, 66–67; move to Tokyo, 64; name change in 1980s, 163–164; 1950s return of, 123–126; 1960s action films of, 139–141, 154; 1970s Roman Porno of, 150–153, 212n2; noteworthy directors of 1960s, 142; production ceased by, 128, 142; reforms and modernization, 47–48; shinpa films of, 34–35, 206n13; Taiwan and, 84; wartime absorption of, 74; youth films at, 152–153
No Blood Relations (Nasanu naka), 17
Nuclear gypsies (Ikiteru uchi ga hana nano yo …), 156
Oh! Women: A Dirty Song, 151
Okinawan language films, 166
One Hundred Years of Solitude (Márquez), 169
onnagata (female impersonators), 13, 183, 201n2, 204n14; actresses as replacing, 40, 44, 206n1; Kinugasa shift to director from, 48–50; Pure Film Movement end and, 46
Onoe Matsunosuke (“Eyeballs Matsu”), 32, 50–51, 124
Opium War, The (Ahen sensō), 95
outcast entertainers. See gōmune
“Overcoming Modernity” conference, 58, 77–78
Ownerless Ferryboat, The (Imjaeobtneun naleutbae), 87
Page of Madness, A (Kurutta ippeiji), 49, 49–50
Palestinian Liberation Organization, 93–94, 146
Pasolini, Pier Paolo, 147, 159
Peerless Patriot (Kokushi Musō), 62
Peony Lantern, The (Botan Dōrō), 202n6
Phantom Woman, The (Gen’ei no onna), 41
Photo Chemical Laboratory (PCL), 61, 69, 70
Play of White Fingers, The (Shiroi yubi no tawamure), 152
political ideology, 55–56
political upheaval: 1970s cinema and, 148–162; 2000s cinema addressing, 198
Powerful Princess, The (Arahimesama), 81
Preventing Cholera (Yufang huòluàn), 83
Princess Mononoke (Mononoke hime), 172, 176
producers, groundbreaking power of, 175
producer system, PCL first, 69
“Production and Photography of Motion Picture Drama, The” (Kaeriyama), 40
production companies, stars owning own, 207n7
Profound Desire of the Gods (Kamigami no fukaki yokubō), 142
puppet theater (ningyō jōruri), 23, 201n2, 203n12; dramatizations of true events in, 205n9; film use of, 136; S. Makino and, 31
Pure Film Movement (jun eigageiki undō), 18, 39–45, 83
“pure heart” pictures, 140
reform movement, Cinema Japanesque, 175
“Renaissance,” of Japanese cinema, 176–177
Resurrecting the Dead (Shinin no sōsei), 26
Righteous Revenge, The (Uirijeok gutu), 86
Ri Kōran, 84–85, 91–95, 93; Hollywood name of, 93; Japanese name and postwar films of, 107; name and nationality of, 209n2
rural communities, documentaries on, 170
Russo-Japanese War, 30, 111
Samurai’s Daughter, The (Die Tochter des Samurai, Samurai no Musume), 70
San Francisco Peace Treaty, 109
Sanrizuka: Peasants of the Second Fortress (Sanrizuka: Hetaburaku), 160, 161
scandal, over Pink Film at Berlin, 145
screenings: of American films, 41; banned wartime, 78, 85; of battlefields, 30; first cinematograph, 24; first Tokyo, 24–25, 28; vitascope, 24–25
scripts, written for film, 40
Second World War, 19; ABCD line sanctions on Japan during, 73, 208n2; end of, 98; films about, 110–112; Japanese view of, 76; mixed views of, 72–73; national policy during, 79–81, 209n7; responsibility issue films after, 104–105
Seibu trading corporation, 175
series, 115–116; borderless action, 139–140; documentary, 161; on gangs, 153–154; Godzilla, 117–118, 172, 178; It’s Tough Being a Man (Otoko wa tsurai yo), 149, 175; most prominent postwar, 137, 211n6; newspaper, 211n9; 1960s and, 129–132, 132, 138, 211n13; V-Cinema, 185
Shakespeare, William, 19, 117
Shall We Dance? (Shall we dansu), 177, 182
Shanghai, Chinese film studios in, 95
Shanghai Brigade (Shanhai rikusentai), 77
Shimizu Sadakichi: Pistol Thief (Pisutoru gōtō Shimizu Sadakichi), 28
shin kokugeki (New Japanese National Drama), 13
shinpa (melodrama), 9; beginnings and evolution, 13, 27, 201n2; director bringing gendaigeki aesthetic to, 48; famous novelist writing plays for, 204n3; in first feature film, 28; first significant actress of, 58, 207n3; full-color, 120; gendaigeki arising out of, 34; in Japanese-influenced Korean films, 86, 87; Kabuki distinguished from, 27; Mizoguchi film based on story from, 27, 205n6; Nikkatsu films of, 34–35, 206n13; onnagata in, 13, 201n2, 204n14; realism replacing, 44; repertoire, 207n3; return to, 46; shingeki and, 40, 44; style, 204n13; voting rights and, 205n5; Western melodrama and, 14
Shinpan Ōka Seidan: Kaiketsuhen, 53
Shirakaba movement, in literature, 42
Shōchiku studio, 42, 188; first postwar film released by, 99; most important director of 1930s, 65–66; move of 1934, 64; Nikkatsu actors vs., 66; 1970s, 149, 156; noteworthy directors of 1960s, 134–137; nouvelle vague and, 134–136; postwar era, 99, 121–122; shōshimin, cosmopolitan films of, 46–47, 64–66, 65, 116
shooting script (satsuei daihon), 206n3
sideshow entertainment (misemono), 27, 31, 83
silent film: benshi (narrators) for, 15; Hayakawa expressionless acting and, 45–46; Pure Film Movement and, 18, 39–45, 83; shōshimin and, 44, 46–47; sound experiment, 58; tendency films and, 55–56, 67, 87–88
sin, as cinematic theme, 142
Sleeping Man (Nemuru otoko), 179
Song of Sadness (Ai no kyoku), 83
Souls on the Road (Rojō no reikon), 18, 41, 42
Sound of the Mountain (Yama no oto), 14
Space Battleship Yamato (Uchū senkan Yamato), 172
Spring Breeze (Wang chunfen), 85
Spy Has Not Yet Died, The (Kanchō imada shisezu), 76
Star Athlete, A (Hanagata senshu), 66
stars: 1930s jidaigeki, 61–63; production companies and, 207n7
Stolen Desire (Nusumareta yokujō), 13
Story of Chunhyang, The (Chunhyangieon), 88
Story of the Last Chrysanthemum, The, 68, 68
Story of White Chrysanthemums, A (Shiragiku monogatari), 45
storytelling: benshi and, 36–37, 202n3, 206n14; kōdan, 37, 202n6, 206n14; Noh mugen, 210n2; rakugo, 10, 37, 202n6, 206n14
Stranger from Afar, The (Marebito), 196
street entertainers, 212n4
Street of Shame (Akasen chitai), 9, 120
studios: Chinese film, 95; closing of Korean, 88–89; directors expelled from, 114; emergence of new Hollywood-influenced, 42; first authentic film, 34; first producer system, 69; gendaigeki, 46–47; major, 20; 1960s block-booking system of, 143; in 1980s, 163–166
Suicide Troops of the Watchtower (Bōrō no kesshitai), 89, 90
Suzaku (Moe no suzaku), 185
Sweet Revenge (Kiri no hata), 157, 157
Taiwan Motion Picture Association, 83
Takarazuka (women’s theatrical revue), 14
Tale of Last Chrysanthemums (Zangiku monogatari), 13
techniques, film shooting, 49, 130; chiaroscuro, 49; découpage technique and, 43, 206n3; distancing, 68; flashbacks, 38; moving camera, 52–53; in 1900s, 38; 180-degree axis, 122, 210n4
Terrorist (Yūheisha), 198
theater: Edo period, 29–30, 201n2, 203n12; Japanese cinema and, 5–6, 12–14, 201n2, 203n10; mass, 27–29; pansori, 86, 88, 209n3; playhouse term for Japanese, 203n10; social classes and forms of, 5–6, 201n2. See also specific forms of theater
theater (physical building): building of first, 29–30; 2000s and, 189
Three Years Pregnancy (Sannen migomoru), 192
Throne of Blood (Kumo no sujō), 116, 117
Tōhō studio (formerly PCL), 69–70, 76–77, 114; films made during Occupation, 107; monsters featured in films by, 118; 1950s success and films featured by, 115–119; 1960s, 128; 1960s series of, 129–131; 1970s, 149; 1980s, 164; postwar films of, 104; 2000s and, 188, 189; war films of, 73–74
Tokyo, 44, 105–106, 178, 179, 185, 190; first screenings in, 24–25, 28; first theater built in, 29–30, 30; Hollywood branches in, 40; international film center of 1980s, 165–166; Kyoto and, 21–22, 31, 34; Nikkatsu move to, 64
Tokyo Story (Tokyo monogatari), 1, 121–122
Tokyo Tower: Mom and Me, and Sometimes Dad (Tokyo tower: Okan to boku to tokidoki oton), 190
Treasury of Loyal Retainers, The (Kanadehon chūshingura), 205n9
Tsuru Henry (Mugen ryūkyū—Tsuru Henrii), 23
Tuition (Su-eop-ryo), 88, 89
Twentieth Century Fox, 34
Ugetsu (Ugetsu monogatari), 12
U. S.-Japan Security Treaty, 134–135
Vie et Passion du Christ (Life and Passion of the Christ), 4
Viewing Scarlet Maple Leaves (Momijigari), 28–29, 29
Violent Cop (Sono otoko kyōbō ni tsuki), 184
voting rights, shinpa and, 205n5
Wandering Guitarist (wataridori), 139–140
war, 20, 30, 41, 95, 107, 111; antiwar films, 78, 114–115; films, 110–112, 130; orphans, 197; prewar film censorship, 101–102, 138. See also Second World War
War at Sea from Hawai’i to Malaya (Hawai mare oki kaisen), 76
Water Magician, The (Taki no shiraito), 27, 102, 205n6
West, the, 9, 25–26, 202n4, 207n2; benshi of, 35–36; decline in films from, 188; era of, 104; films “overly influenced by,” 47; melodramas from, 14; “Overcoming Modernity” symposium and, 77–78; painting and, 12, 25; shingeki as influenced by, 40
Wet Sand in August (Hachigatsu no nureta suna), 142
What Made Her Do It? (Naniga kanojo o sō saseta ka), 55
What’s Up Connection (Tenamon’ya konekushon), 179
Wife, Be Like a Rose! (Tsuma yo bara no yō ni), 69
Wild Berries (Hebi ichigo), 193
Woman of the Dunes (Suna no onna), 143, 144
Woman’s Pedigree, A (Onna keizu), 80, 120
women: critics, 191; demonic, 198; depiction of fierce individuality, 157; directors, 191–194; melodramas for, 121; prototypical Japanese, 104
Yamagata Documentary Film Festival, 170
youth: directors loved by, 173; nostalgia for, 158–159; protagonists, 170