had a huge effect in cinema around the world. These effects can are perhaps most apparent in the cinema of Japan as the country was impacted greatly by the war. The bombing of Hiroshima and Nagasaki and the subsequent capitulation of Japan changed the morals and the psyche of its people almost completely leaving a big mark in Japanese culture which is quite evident when looking the films made in the country during the post war period. The war changed every genre in Japanese cinema, introducing new themes
representation of women in Japanese action/thriller films and, Hollywood action/thriller films focusing on the Asian genre, are different’. When starting my research, I wanted to prove that due to Eastern/Western ideological differences in society, cinema produced reflects the culture. For example, the target audience of a country influences how films are produced in order to appeal to the specific audience. Thus, I proposed that due to a divide in audience appeal for film based on varied cultures
Seven Samurai and Yojimbo influencing countless westerns and mob movies. Arguably, however, Rashomon has been the most instrumental of all Kurosawa’s films because it asks a question that lies near the heart of all cinema: what is reality? Today, any consumer of television or cinema has seen various permutations of the plot of Rashomon numerous times, probably without realizing. In the film, a rape and consequent murder are told five different times, by a woodcutter (Takashi Shimura) who seems
Introduction The representation of women in Japanese cinema has been varied. Director Kenji Mizoguchi has portrayed, “an ambivalent attitude toward women….an attitude of mixed adulation, pity and fear toward women” in his films. Ozu Yasujiro, in such films as I Was Born But… (1932), features female characters who are passive and fail at keeping their family together once patriarchal power goes missing. Sharp contrasts are the films of Naruse Mikio whose heroines, “are thinking, active women."
a room before at an indeterminate juncture the viewer realises something is crouching in a corner. Hollywood flings a juddering jump-cut into the face of the viewer, arcs of gore framing the revealed nebulosity. There is patience in the horror of Japan and Korea: like jade, the horror is opaque, inscrutable, demanding. Darkness in Eastern aesthetics is necessary for beauty, and as a consequence light takes on a more fragile grace in the careful restraint of its use. Imperfection is not desperately
In the movie Rashomon, the ending is left up to the viewer to interpret which character they believes is telling the truth about the murder. This type of film allows you to see why different characters are lying to make themselves look better as a person. The first story that got told was from the ‘bandit’, Tajomaru. I do not think that Tajomaru’s story is liable considering he was the one guilty of the murder, he took the wife away from her husband. He has a big ego and is very in your face wanting
Emotion in Japanese Film Fireworks "He shows no sign of joy or anger" -- phrase used to describe a samurai (quoted in Nitobe 94). Bushido is a Japanese term for the samurai code of behavior that includes the ideal of self-control. Central to this ideal is the consideration that it is "unmanly" for a samurai to display his emotions on his face (Nitobe 94). This traditional aspect of behaviour penetrates deep into contemporary Japanese culture. By examining Fireworks, a Japanese film of the
Rashomon is a Japanese film that that was produced in 1950 by the director, Akira Kurosawa, which is considered one of the most important filmmaker in the history of cinema. Since early age, Akira Kurosawa had interest in samurai stories because his father was and shared his samurai experiences with Akira. In addition, writers such as Kanze Nobumitsu have said that Rashomon is an interpretation of the everyday life of the accident Japanese society. The old temple represents the ancient Raseimon gate
of truth amid stories of lies. The investigation for truth, reality and justice is the central focus of the film. By giving conflicting stories of a specific event, it challenges the objectivity and reliability of human perception. Set in Medieval Japan, the film tells the story of a samurai’s death with symbolisms and allusions to man’s quest for justice. Moreover, it also discusses in context the different lies that men do and their motive for it. The story is simple. A samurai and his wife were
Japanese cinema during the early history of film and through the silent era was similar yet quite different as the history of cinema in the United States and the rest of the western world. Although Japan didn’t have an entrepreneur or inventor trying to invent filmmaking like in England, France, and the United States, it did already have a taste for moving pictures and visual storytelling, leading a transition into film quite natural. Similar to the west, Japanese cinema took its earliest form from
Theory (Filmmaking)”). Ozu is a true auteur of the Japanese post-war cinema. His crown jewel film, Tokyo Story (Ozu, 1953) rejects the tropes of the Hollywood system and instead works within the confines of Japanese re-growth. It is truly unique to Japanese national cinema as it responds to the depression and sorrow felt in post-war Japan. The image of Noriko (Setsuko Hara) and Shukishi (Chishu Ryu) looking off into Onomichi Japan captures Ozus’s distinct style and the sadness and uncertainty felt
The Golden Age of Japanese cinema was the product of postwar Allied occupation, a classical vertically integrated studio system, technical innovations in cinematography, and ingenious directors, set against a backdrop of 1950s political and cultural realignment. Following the unprecedented destruction of the cities of Hiroshima and Nagasaki, and the surrender of the Empire of Japan to Allied forces in September, 1945, the Japanese government came under control of Allied Occupation Forces from 1945-52
Full Service Cinema: The South Korean Cinema Success Story (So Far) Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon
The pleasure of watching a great cinema or conversely the disappointment and frustration of watching a poor film, is familiar to most of us. Cinema is one of the most popular and vibrant cultural practices reflecting a plethora of social, economic and cultural phenomena in modern societies. Cinema sometimes is the cultural reconstruction of our daily lives, sometimes an entree to a different time or place or idea that otherwise is difficult or even impossible to access. They remix the real, the unreal
CHAPTER II SPREADING OF AMERICAN IDEAS & CUSTOMS According to Dr. Isaac Berkson, the definition of Americanization is "adaptation and adjustment". He further explained his statement by saying that the concept of Americanization happens "When an immigrant has adapted and adjusted himself to the American conditions and surroundings" (Berkson, 1891). There is a gap of the understanding of Americanization between Berkson back then and the concept of Americanization now. Berkson statement somewhat implied
Korean Dramadance China, Korea, and Japan have been historically close for centuries, thus accounting for their numerous common artistic traditions. From pre-Christian times until the 8th and 9th century AD, the great trade routes crossed from the Middle East through Central Asia into China. Hinduism, Buddhism, some knowledge of ancient Greek, and much knowledge of Indian arts entered into China, and thence in time into Korea and Japan. Perhaps before Christ, the Central Asian art of manipulating
progressing cultural movements” (McRoy 54), Japan has used film as away to express the changes in traditional and cultural practices. In comparison to Hollywood, J-horror makes the role of the female much more significant to reflect changes in both tradition and society. Various J-horror movies like Ringu, Ju-on, and One Missed Call are particularly good examples of expressing these changes, but not necessarily the only ones. From an outsider perspective, Japan seemingly maintains an honorable, proper
ASSIGNMENT #5 – NEW WAVE CINEMA I’m Summiting the assignment late due to my father's death, I was not here, and which I wasn’t able to Turn It in on time. This assignment is worth 15 points. There will be three parts for this assignment. Part 1, write the name of your group film and your group thesis for your presentation (5 pts) – easy! The Name of Our Group: Mohuya, Raven, Rebekah, Karla The purpose of this investigation is to discuss Peter Pan’s isolation of the real world. I. Peter pan syndrome
Foreign films are special in their own way. They show a viewer different cultural values and views of the world. They also awaken your imagination. While American films seem to focus more on the award-winning aspects of a film, foreign films focus more on human aspects. These films reveal different aspects of nations. They portray how people within that nation may feel at a certain time. In both American and foreign films, they reveal what the filmmaker feels; so many times the truth revealed is
The World War II had ended, yet Japan still has a reputation problem from other Asian countries. They still think that Japan hasn’t shown a deep remorse of the war dead, especially for the war victims from the related countries. On the other hand, Japan itself has been trying to rebuild its international image. Soon after the World War finished, Japan started whittling down its military force. It made non-military force, also known as soft power, as Japan state’s new force to get the trust back from