Kenji Mizoguchi and the Art of Japanese Cinema by Tadao Sato, Aruna Vasudev, Latika Padgaonkar, Brij Tankha

By Tadao Sato, Aruna Vasudev, Latika Padgaonkar, Brij Tankha

Translated by means of Brij Tankha

Kenji Mizoguchi is among the 3 acclaimed masters--together with Yasujiro Ozu and Akira Kurosawa--of eastern cinema. Ten years within the making, Kenji Mizoguchi and the paintings of jap Cinema is the definitive consultant to the lifestyles and paintings of 1 of the best film-makers of the 20 th century.

Born on the finish of the nineteenth Century right into a prosperous relatives, Mizoguchi's adolescence motivated the subjects he may soak up in his paintings. His father's bold enterprise ventures failed and the relations fell into poverty. His mom died and his cherished sister was once offered right into a geisha condo. Her profits paid for Mizoguchi's schooling. susceptible and deluded males, and robust, self-sacrificing women--these have been to turn into the obsessive motifs of Mizoguchi's films.

Mizoguchi's apprenticeship in cinema used to be notably eastern. His concerns--the position of girls and the realist illustration of the inequities of jap society--were now not. via global Wars, Japan's tradition replaced. although censored, Mizoguchi endured to supply movies. It used to be simply within the Nineteen Fifties that Mizoguchi's spectacular cinematic imaginative and prescient turned well known outdoor Japan.
Kenji Mizoguchi and the paintings of eastern Cinema tells the entire tale of this famously perfectionist, even tyrannical, director. Mizoguchi's key movies, cinematographic recommendations and his social and aesthetic matters are all mentioned and set within the context of Japan's altering well known and political culture.

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Extra info for Kenji Mizoguchi and the Art of Japanese Cinema

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Many years later, Mizoguchi told Yoda Yoshikata that he used memories of his father to create the character of the old man, right down to the smallest gesture. Mizoguchi may have been quite con temptuous of his father, but from what he learned of him from Suzu's children, Matsudaira Tadanori and Kawakatsu Kyoko, it appears that the father was gentle and likeable, if somewhat petty. What did Mizoguchi really think of his father when he was young? What did he think of Matsudaira Tadamasa who provided him with economic security?

Unfortunately, the house burnt down in a fire. Suzu then took the family to the res idence of Matsudaira Tadamasa in Ehara, Shinagawa. This large estate was spread over an area of 3,000 tsubo (1 tsubo = 36 sq ft). The main house covered 400 tsubo, and there were a number of other empty houses as well. Suzu and her family were given one of the unoccupied houses and they turned it into their permanent home. For all that, Suzu's status was akin to a servant's. Her patron Matsudaira Tadamasa's mother and his legal wife both treated her like one of their employees, although they betrayed no sign of jealousy.

Sekiko, who has little sexual knowledge and has given little thought to it until now, suddenly comes face to face with it. Her heart is that of a pure maiden, and when she wakes up after what seems like a dream of her wedding night, she laments her irrevocably lost youth and maidenly pride, all for the lust of a domineering man. Learning that there was another woman who had once loved her husband, she cries, 'A loveless marriage is a misfortune but when two people who love each other cannot be together, it is an even greater misfortune.

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