The postwar Japanese cinema is regarded as the Golden Age of Japanese cinema. The films produced during that period also underwent a major transition since the start of the war. In the first part of this academic essay, I will touch on the brief history of films produced during the war and how the global, political and industrial development after the war helped to kickstart the film industry into the Golden Age.
In addition to that, I will talk on how the change in conditions mentioned above led to the rise of Yasujiro Ozu and Akira Kurosawa, and their filmmaking styles in relation to the postwar period. In the second part of this essay, I will be reflecting on a recent film and how it was inspired by postwar Japanese cinema.
The military took charge of the government and in turn dictated the local film policy by producing propogandic films. The Motion Picture Law was formed and when foreign films entered Japan, they suffered badly by going through a lot of cuts. The law also put a curb on these foreign films if they are found to be democratic and of different ideology. Donald Richie’s Japanese Cinema: An Introduction (1990, p.37) stated in his book:
“Even in the early 1930s the official censors had begun cutting foreign films: the pacific All Quiet on the Western Front suffered nearly three hundred cuts before being shown in Japan”. The magnitude of the number of cuts shows the strength of the military censors and how focused they were when producing ideological
The concentration is on comparing and finding the changes that history made to this movie genre, especially considering the gender roles. Results will clearly explain the psyche of society in two different periods, which confirms that people reflect the movies as movies have an impact on people. The Introduction It is often said that the element of surprise makes the movie more interesting and leads the plot. There are many masters of storytelling
This sense of hostility springs forth from the misconstrued view of literature being the superior art form among the two, extending to the apparent artistic inferiority of cinematic adaptations, which seemingly “betrays” its source material. But the idea of cinema as a potent and dynamic art
The Cultural Influences in Japanese Horror Film and Its American Remake (A case study of Ju-On: The Grudge (2002) and The Grudge (2004)) Abstract: Hollywood has produced a number of remakes of Asian horror films, especially Japanese horror films. As the remake is embodies the cultural aspects or American point of view, this research is conducted to see the cultural differences between Japanese horror film and its Hollywood’s remake. Using Joseph Champoux 's observational model and David Edelstein’s Hollywood adaptation rules, this research will identify the specific cultural elements in both movies. The result is separated into two subdivision where the cultural aspects of both country is depicted in both films; the clear explanation of the cause of
Films and the actors that were casted in them changed the face of film
The film industry in Hollywood was no more immune from the Great Depression’s hit than any other industry. The film industry, founded on several economic and social institutions, hid the real world difficulties behind the on-screen glitz and glamour. These efforts to disguise the country’s hardships were essentially what kept American’s coming back to view motion pictures time and time again. At movie theatres, individuals were able to escape from their worries for a few hours. No other “medium has contributed more greatly than the film to the maintenance of the national morale during a period featured by revolution, riot and political turmoil in other countries”.
Adolf Hitler used censorship to control how the Jewish people were perceived. Along with spreading propaganda, Nazis also burned books (Lewy). Markus Zusak’s novel The Book Thief explores the idea of censorship and the power of words during Nazi Germany. The censored material the protagonist Liesel Meminger read is perhaps one of the books that influenced her the most.
This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday
BBBBBOOOOOOKKKKK The relationship between film and society continue in the 1930’s. With the start of the great depression came the start of the Breen Office. The Breen Office regulated films in the mid 1930’s and the movie makers decided to embrace the American Values the Breen Office was trying to stand for. Sklar states that this new sense of American Values in film helped to “boost the morale of a confused and anxious people by fostering a spirit of patriotism, unity and commitment to national values,” (3597).
Over the fifteen weeks of the first semester of film school, we were taught many interesting types and styles of early world cinema which were extremely informative and influenced the filmmaking style of the whole class and made us better filmmakers instantly. One such ‘ism’ which inspired me the most was German Expressionism which is a unique characteristic of Weimar Cinema. In this essay I am going to talk about the history of this ‘ism’, its impact on cinema, some significant works and how it inspired me and influenced my filmmaking style. German Expressionism is one of the earliest artistic genres to influence filmmaking, and one that ostensibly prepared for some other cutting edge artistic styles and techniques. It is an artistic genre
In 1990 at the age of eighty, Japan’s most widely admired film director, Akira Kurosawa, was awarded a honourary Oscar at the Academy Awards in Hollywood. From the latter half of the 1940s until his death in 1998, Kurosawa had directed over thirty films including, Rashomon (1950), Seven Samurai (1954), Throne of Blood (1957), and Ran (1976). He directed samurai epics, crime thrillers, literary adaptations, and films of social realism. One film, Seven Samurai, set during the sengoku jidai, is thought by many to be the greatest Japanese film of all time. His work was a huge influence on directors like George Lucas and Steven Spielberg who revered him as “Master of the
The Inter-Korean Conflict & South Korean Film: 1950-Present By the 1940s, film propaganda was a widespread and popular method for both North Korean and South Korean forces to effectively relay their messages to the masses. While most war propaganda typically does not continue into the post-war era, the Koreas were unique in this regard. Even after the Korean War, their respective national film industries continued to reflect state ideology and send political messages to the audience. The aim was to reinforce the civilian populations that Korea would remain divided along the the 38th parallel and that both states would not give into the other’s ideology.
Two films, although created years apart yet have a lot in common, including their content of it’s narrative techniques. Both films, even though black and white with strokes of genius of cinema offer a vast stretch for study. I will be looking at Sir Orson Welles “Citizen Kane” (1941) and Akira Kurosawa’s “Rashomon” (1950). We see in Citizen Kane he values for the American life. The three abstract themes that constantly follow through Citizen Kane are Wealth, Power and Love.
The film Quo Vadis done by Enrico Guazzone was the earliest big successful movie in cinema history. Movies such as Cabiria, by Gio Pastrone, was also one of the biggest productions, taking two years of a lifetime to produce. Italy was home to the Futurists, and to these people, such as famous Filippo Marionetti, cinema was an ideal art form, being a subject of artistic changes and work like for example special effects, editing, manipulation of speed. The years following WW1, the Italian cinema fought against the rise of foreign competition which led to the unification of the Italian cinema organisations as a strategy for a bigger film production and market, but unfortunately, this unification wasn’t
Although the main conflict of the film lies within the Japanese culture, it encompasses the loss of cultural identity, and how some Japanese choose to embrace a more modern, western culture. By doing so, it pushes the cultural differences to the
Family connections have dependably been an obvious point in Japanese film from its very beginnings. Through the microcosms of family structures, Japanese movie producers have mirrored the first social clashes that have influenced their nation in their works. For instance, of the movies we have watched in class, three of them explore how family connections is a matter that affects the society today. They are: Tokyo Story, (Yasujiro Ozu, 1953), I Was Born, But… (Yasujiro Ozu, 1932), and There Was a Father (Yasujiro Ozu, 1930s)