By Donald Richie
It's common wisdom that Japan has produced probably the most remarkable nationwide cinemas within the background of movie. This booklet, written via the internationally-recognized professional at the topic, makes jap videos obtainable to Western audiences as by no means before.
It is; firstly, a succinct heritage of eastern movie, from the start via 1970. it's also, in spite of the fact that, an exploration of eastern culture-and the japanese mind.
The writer relates the flicks to the opposite paintings types, and the traditions and attitudes of the japanese humans. he's hence capable of refute the occasional Westernl5bjections that eastern video clips are sentimentat, or dull, or jam-packed with cliches. The booklet discusses not just the well known classics of such administrators as Kurosawa and Mizoguchi, but additionally the preferred "entertainment" motion pictures in addition. It establishes the old foundation for the $64000 post-war motion pictures that first introduced eastern cinema to the eye of the area. especially, this booklet explores the original imaginative and prescient of the japanese film-makers, the imaginative and prescient "which is the classy of Japan-and which has created probably the most appealing and honest movies ever made."
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Extra info for Japanese Cinema: Film Style and National Character
The music of the early Jikken Ko¯ bo¯ years: Uninterrupted Rest I As noted above, the only work to have survived in the form of a fully notated and published text from the early Jikken Ko¯bo¯ years is the movement which was eventually to form Part I of the triptych entitled Uninterrupted Rest, originally performed as an independent work under that title by its dedicatee, Takahiro Sonoda, in August 1952. The instruction (in English) with which this work is prefaced – ‘Slowly, sadly and as if to converse with’ – is very much in keeping with the general mood already established by ‘the Lento composer’ in previous works, and these verbal indications ‘reverberate’ in musical terms which translate their evocative sense with exact ﬁdelity: a rather ‘Messiaenic’ tempo marking of = 48, plus the performance directions Triste and quasi parlando.
There was a cinema right in front of me, I bought a ticket, went inside, and in a corner of the pitch blackness . . ’24 Yamane’s remark about ‘pre-music’ in fact turned out to be remarkably apt, for Takemitsu was to withdraw both this work and its companion piece from the Shinsakkyokuha years, Distance de Fée (for violin and piano, premièred at the eighth recital of the group in 1951). Both pieces are omitted from the work list which appears in the composer’s manuscript score of Tableau Noir (1958), which acknowledges instead the ﬁrst Uninterrupted Rest of 1954 as his ‘Op.
J œ œ œ œ œ œœœ œ œ j œ on the sound-world of Lento/Litany is most palpable tend to be French. 37 On the evidence of the second movement of Lento, he would appear also to have played a lot of a more recent French composer as well. 38 The most audible reﬂection of this new inﬂuence is the addition of a new resource to Takemitsu’s modal vocabulary, and one not tainted with the pejorative connotations of the pentatonic forms employed hitherto: the octatonic scale ([0,1,3,4,6,7,9,10]), which, in the shape of the ‘second mode of limited transposition’, Messiaen had contrived to make so much his own.