Japanese Cinema 1950 - 1970
Published on Nov 19, 2015
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Japanese Cinema
1950 - 1970
Key films
- Rashomon (Kurosawa, 1950)
- Ikiru (Kurosawa, 1952)
- Tokyo Story (Ozu, 1953)
- Sound of the Mountain (Naruse, 1954)
- Seven Samurai (Kurosawa, 1954)
Other notable films include:
I Live in Fear (Kurosawa, 1955)
Throne of Blood (Kurosawa, 1957)
I Live in Fear (Kurosawa, 1955)
Throne of Blood (Kurosawa, 1957)
Key films
- Godzilla (Honda, 1954)
- Yojimbo (Kurosawa, 1961)
- Onibaba (Shindô, 1964)
- Woman in the Dunes (Teshigahara, 1964)
- Tokyo Drifter (Suzuki, 1966)
Other notable films include:
Late Autumn (Ozu, 1960)
Jigoku (Nakagawa, 1960)
When a Woman Ascends the Stairs (Naruse, 1960)
An Actor's Revenge (Ichikawa, 1962)
Kwaidan (Kobayashi, 1964)
The Face of Another (Teshigahara, 1966)
Late Autumn (Ozu, 1960)
Jigoku (Nakagawa, 1960)
When a Woman Ascends the Stairs (Naruse, 1960)
An Actor's Revenge (Ichikawa, 1962)
Kwaidan (Kobayashi, 1964)
The Face of Another (Teshigahara, 1966)
Types of Japanese Cinema
- Samurai Cinema
- Kaiju (Monster films)
- Yakuza (Mobster films)
- Jidaigeki (Period dramas)
- Gendaigeki (Present day)
Samurai Cinema (Seven Samurai, Rashomon, Gate of Hell)
Kaiju (Godzilla, Mothra)
Yakuza (Tokyo Drifter, Branded to Kill) [Ninkyo-eiga were the first type of Yakuza film]
Jidaigeki (Yojimbo, Onibaba)
Gendaigeki (Dependent on Era - for 1950-1970 - Tokyo Story, Late Autumn) Explore the work of Ozu for more on Gendaigeki Cinema
Also, documentary style films are called Jit surokv-eiga
Kaiju (Godzilla, Mothra)
Yakuza (Tokyo Drifter, Branded to Kill) [Ninkyo-eiga were the first type of Yakuza film]
Jidaigeki (Yojimbo, Onibaba)
Gendaigeki (Dependent on Era - for 1950-1970 - Tokyo Story, Late Autumn) Explore the work of Ozu for more on Gendaigeki Cinema
Also, documentary style films are called Jit surokv-eiga
Historical events
- 1945 - Atomic bombings of Hiroshima & Nagasaki
- 1945 - Soviet invasion of Manchuria
- 1946 - Prosecution begins of Japanese leaders for war crimes
- 1952 - American occupation ends
- 1955 - The Liberal Democratic Party takes power
Historical events
- 1950s & 1960s - Japanese economy boomed
- 1960 - Treaty of Mutual Cooperation and Security between the US and Japan
- 1964 - Tokyo hosts summer Olympics
- 1968 - Japan is second largest economic power in the world
- 1969 - Student protests against Vietnam war
Key themes
- The effects of war
- Anti-nuclear & anti-war messages
- Occupation by America
- Changing roles of women in society
- Social outcasts as protagonists
Key themes
- Uninhibited sexuality
- Deconstruction of social structures
- Universalism vs Individualism
- Respect and honour
- Age and status
Transnational feelings & fears at time
- Fear of cultural imperalisation
- Fear of betrayal
- Stricter gender roles
- Post-war suspicion
- International Americanisation
Influences
Kabuki Theatre
- Classical Japanese dance-drama
- Stylized performances with elaborate make-up
- Known as "the art of singing and dancing"
- Translates as "to be out of the ordinary"
- Seen as "avant-garde" & "bizarre theatre"
• Classical Japanese dance-drama
• Stylized performances with some elaborate make-up
• Known as “the art of singing and dancing”
• Translates as “to be out of the ordinary”
• Seen as “avant-garde” & “bizarre theatre”
• Stylized performances with some elaborate make-up
• Known as “the art of singing and dancing”
• Translates as “to be out of the ordinary”
• Seen as “avant-garde” & “bizarre theatre”
History & roles
- Originated in 17th Century
- Originally female performers in comic playlets
- However, only men were allowed in the plays
- Played both male and female roles
- Both female & male actors were available for prostitution
• Originated in the 17th Century
• Originally female performers in comic playlets
• However, only men were allowed to be in plays
• Played both male and female roles
• Both female and male actors were available for prostitution
• Originally female performers in comic playlets
• However, only men were allowed to be in plays
• Played both male and female roles
• Both female and male actors were available for prostitution
Culture
- Would showcase latest fashions & events
- Variety of social classes attended plays
- Seen as initiating Japanese pop culture
- Moved to drama more than dance
- Became "underground" after riots & bans
• Would showcase latest fashions and events
• Variety of social classes attended
• Seen as initiating Japanese pop culture
• Moved to drama more than dance
• Became “underground” after riots and bans
• Variety of social classes attended
• Seen as initiating Japanese pop culture
• Moved to drama more than dance
• Became “underground” after riots and bans
Categories
- 2005, rise in Kabuki Cinema films
- Three main categories of play...
- History, Domestic & Dance
- Often performed in all-day programmes
- Audiences "escape" everyday life to attend full day
• 2005, rise in Kabuki Cinema films
• Three main categories of play
• History, Domestic & Dance
• Often performed in all-day programmes
• Audiences “escape” everyday life for whole day to attend
• Three main categories of play
• History, Domestic & Dance
• Often performed in all-day programmes
• Audiences “escape” everyday life for whole day to attend
Structure
- Common 5 act structure
- Jo - slow opening to showcase characters
- Ha - speeding up events
- Possible battle in 2nd and/or 4th act
- Kyu - Final act, quick & satisfying conclusion
• Commonly 5 act structure
• Jo – Slow opening to showcase characters (1st)
• Ha – Speeding up events (2nd-4th) 3rd act – moment of great drama or tragedy
• Possible battle in 2nd and/or 4th act
• Kyu – Final act, quick and satisfying conclusion
• Jo – Slow opening to showcase characters (1st)
• Ha – Speeding up events (2nd-4th) 3rd act – moment of great drama or tragedy
• Possible battle in 2nd and/or 4th act
• Kyu – Final act, quick and satisfying conclusion
Narrative & performance
- Plays often inspired by folklore
- Kabuki specific plays more comic & looser plots
- Scenes removed to showcase actor's talents
- Emphasis on performance over narrative continuity
- Certain performance styles for different regions
• Plays often inspired by folklore
• Kabuki specific plays more comic & looser plots
• Scenes removed to showcase actor’s talents
• Emphasis on performance over narrative continuity
• Certain performance styles for different regions
• Kabuki specific plays more comic & looser plots
• Scenes removed to showcase actor’s talents
• Emphasis on performance over narrative continuity
• Certain performance styles for different regions
Yakuza gangs
Yakuza
- Follow Samurai code of loyalty, honour, courage, selflessness and determination
- Atone by cutting off part of their finger
- Aim to pursue chivalry
- Notorious for their strict code of conduct and organised nature
- Tattoos are a major aspect of the Yakuza commitment to their own group
Called boryokudan by Japanese police – means ‘violence group’ but they call themselves ninkyo dantai means ‘chivalrous organisation’
Yakuza films
- Ninkyo-eiga were the first type of Yakuza film
- Aesthetics of violence are important in the final sequences
- Focusses on lives and dealings of Yakuza also referred to as Japanese mafia
- The youth are rejecting their parents values changing the traditional Yakuza film
Focus films
Godzilla (1954)
Tokyo Drifter (1966)
Godzilla (1954)
Director: Ishiro Honda - http://www.tcm.com/this-month/article/484246%7C487639/Ishiro-Honda-Profile....
Key themes
- Fear of atomic war
- Community
- Honourable suicide (Hara-kiri or Seppuku)
- National pride/strength
- Nature vs science
Producer of Godzilla, Tomoyuki Tanaka, stated that "The theme of the film, from the beginning, was the terror of the bomb. Mankind had created the bomb, and now nature was going to take revenge on mankind."
Elements of traditional Japanese culture
- Kabuki theatre - ritual scene
- Kabuki theatre - all social classes attended (community in Godzilla)
- Reflection of Hiroshima and Nagasaki
- Fear of society's views of infidelity (Emiko and Hideto)
- Reflection of Japanese fishing ship (Lucky Dragon 5)
Tokyo Drifter (1966)
Director: Seijun Suzuki - http://www.criterion.com/explore/86-seijun-suzuki
Key themes
- Cultural imperialisation from America
- Loyalty and honour
- Women as objects
- Solidarity
- Embracing Japanese pop culture
Traditional & Modern Japan
- Katanas & guns
- Modern - Western genre style (saloon)
- Samurai & Yakuza values
- Kabuki elements - singing
- Modern - pop culture
Comparing TD with Kabuki
- Musical interludes (Scenes to showcase actor's talents)
- Exaggerated performances
- Kabuki actors - prostitutes, TD - women as objects
- Loose plot
- Showcase pop culture & underground events
Comparing TD with Yakuza
- Atone for sins - final scene (cutting wrist)
- Tokyo Drifter was a different style, made in between...
- ...Ninkyo-eiga (Yakuza) & Jit surokv-eiga (Documentary style)
- Violent aesthetics seen in final scene
- Lead character (Tetsuya) tries to escape Yakuza life, but can't
Past Questions
See notes for all past paper questions
‘There is no such thing as a national cinema. There are just films that happen to be made in a
particular country.’ Discuss this statement in relation to the films you have studied for this topic. [35]
What have you discovered from making a stylistic comparison of the films you have studied for this topic? [35]
How far has your understanding of your chosen films been increased by placing them within a national cinema study? [35]
‘Such is the dominance of Hollywood that it is very difficult for filmmakers to develop a national film style.’ How far is this true of the films you have studied for this topic? [35]
By comparing the cinematic styles used in the films you have studied for this topic, is it possible
to identify a distinctive ‘national cinema’? [35]
How useful is it to study films by reference to their national cinema context? [35]
How far do the films you have studied for this topic deal with specific national themes and
issues? [35]
With reference to image and sound, what are some of the ways in which filmmakers have
created the sense of a distinct national cinema in the films you have studied for this topic? [35]
How far can it be said that the films you have studied for this topic reflect national themes in
the stories they tell? [35]
How far has a broader study of national context given you greater insight into your chosen
films? [35]
particular country.’ Discuss this statement in relation to the films you have studied for this topic. [35]
What have you discovered from making a stylistic comparison of the films you have studied for this topic? [35]
How far has your understanding of your chosen films been increased by placing them within a national cinema study? [35]
‘Such is the dominance of Hollywood that it is very difficult for filmmakers to develop a national film style.’ How far is this true of the films you have studied for this topic? [35]
By comparing the cinematic styles used in the films you have studied for this topic, is it possible
to identify a distinctive ‘national cinema’? [35]
How useful is it to study films by reference to their national cinema context? [35]
How far do the films you have studied for this topic deal with specific national themes and
issues? [35]
With reference to image and sound, what are some of the ways in which filmmakers have
created the sense of a distinct national cinema in the films you have studied for this topic? [35]
How far can it be said that the films you have studied for this topic reflect national themes in
the stories they tell? [35]
How far has a broader study of national context given you greater insight into your chosen
films? [35]
