Mizoguchi and Japan

Mizoguchi and Japan For a majority of filmgoers the names most usually associated with classic Japanese cinema are those of Kurosawa and Ozu Yet during the early s at the same time that Kurosawa was becoming known

  • Title: Mizoguchi and Japan
  • Author: Mark Le Fanu
  • ISBN: 9781844570577
  • Page: 255
  • Format: Paperback
  • For a majority of filmgoers, the names most usually associated with classic Japanese cinema are those of Kurosawa and Ozu Yet during the early 1950s, at the same time that Kurosawa was becoming known to the public through the release of classics such as Rashomon and The Seven Samurai, another Japanese director, Kenji Mizoguchi, quietly came out with a trilogy of films ThFor a majority of filmgoers, the names most usually associated with classic Japanese cinema are those of Kurosawa and Ozu Yet during the early 1950s, at the same time that Kurosawa was becoming known to the public through the release of classics such as Rashomon and The Seven Samurai, another Japanese director, Kenji Mizoguchi, quietly came out with a trilogy of films The Life of Oharu, Ugetsu Monogatari, and Sansho the Bailiff that are the equal of Kurosawa s in mastery, and that by any standard rank among the greatest and most enduring masterpieces of world cinema Despite Mizoguchi s extraordinary qualities as a filmmaker, this is the first full length study in English devoted to his work in over twenty years Mark Le Fanu eloquently demonstrates that Mizoguchi s films are as vibrant now as they were in his heyday, and that the director richly deserves the praise lavished on him by the French film review Cahiers du Cinema, which recently hailed Mizoguchi as the greatest of all cineastes.

    One thought on “Mizoguchi and Japan”

    1. Mark Le Danu's book Mizoguchi And Japan (2008) is a great resource for understanding the director's contributions to Japanese cinema and analysis of his major films. Le Fanu makes his case for Mizoguchi among the pantheon of the world's great directors and gives context of his work and looks closely at some of the trends and motifs in his work. For example he starts out discussing his three masterpieces: The Life of Oharu (1952), Ugetsu (1953), and Sansho the Baliff (1954), in "The Great Triptyc [...]

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