The term ultra-kaijū is short-hand for monsters in the Ultra Series. Best of luck with your paper! Film makers I will look at will include Akira kurosawa and the creator of Dragon ball Z Akira Toriyama and Maseki Kobayahi. Japan Guide. It is a trend that continues to this day, as films like Hibakusha (2012) and Hibakusha, Our Life to Live (2010) examine how both the Japanese culture and people are still recovering from the impact brought about by the supreme horror of the Atomic Age. Indeed, back in Kyoto, director Shōzō Makino “launched a series of samurai films which used the rapid cutting and close framings characteristic of American cinema” (Bordwell, 1995, p. 6). This is a useful article I can use for my academic paper. At the time, most anime was notorious for cutting production corners with limited motion, such as having only the characters' mouths move while their faces remained static. The long-running television series Zenigata Heiji and Abarenbo Shogun typify the Edo jidaigeki. The lack of Western-looking actors, for example, made it next to impossible to shoot films set in Europe, America, or fantasy worlds that do not naturally involve Japan. In Godzilla vs King Ghidorah, Ghidora starts out as a bat, but turns into a monster after exposure to an atom bomb test. The first film produced in Japan was the short documentary, Geisha no teodori (芸者の手踊り) in June 1899. These films were beloved for their tireless promotion of Japanese feudal heritage, and they differed from earlier jidai-geki (period dramas) films, which often took a more satirical, skeptical view of samurai and Japanese heritage (Davis, 1996). Sure…I know Clif personally (he was one of my professors during my undergrad studies), and he said this at a screening of Kurosawa’s Rhapsody in August. The most famous kaijū is the nuclear scare movie, Godzilla. 1949 saw recognized Japanese film visionary Yasujiro Ozu's first collaboration with leading lady Haruko Sugimura in the chaste drama, Late Spring. These were then imposed upon the Western technical style, to create something that is “recognizably Japanese” (Davis, 1996), That is, the norms of the West provided a framework within which more distinctively “Japanese” elements could be situated. Yasujiro Ozu directed Good Morning (1959) and Floating Weeds (1958), which was adapted from his earlier silent film, A Story of Floating Weeds (1934), and was shot by Rashomon and Sansho the Bailiff cinematographer, Kazuo Miyagawa. The same can be applied to a romance themed anime in that it may involve an action element, or in some cases brutal violence. Politically, Japan was moving closer toward military expansion, most notably into China. Japanese theatre, known for the stylization of its drama and for the elaborate makeup worn by some of its performers, like the Gieshas. Onoe became Japan’s first real film star, appearing in over a thousand films, most of them were shorts, between 1909 and 1926. This new-style samurai film prospered into the early 1970s, with stars like Shintaro Katsu (1931-1997), who appeared in over twenty films as the wandering, blind swordsman Zatoichi, but by then overexposure on television, the aging of the samurai stars, and the continued decline of the mainstream film industry stalled the production of these surprisingly original genre pictures. Be Like A Rose! However, unlike in Hollywood, silent films were still being produced in Japan well into the 1930s: It gained cult film status in Japan, Britain, and the United States. Finally, it is impossible to talk about postwar Japanese cinema with out at least mentioning Godzilla (1954), which is probably Japan’s most well-known cinematic export, but it is also a sober examination of the effect that the bombings of Hiroshima and Nagasaki had on Japanese culture as a whole (Fig. This can be seen in the 1992 release of Godzilla vs. Mothra. Seven samurai has also inspired the 1960 film Magnificent seven in the west where the Samurai are replaced with gunslingers. This is especially evident when looking at films released during the late 1980s and throughout the 1990s, which saw the release of films such as Black Rain (1989), Dreams (1990), Rhapsody in August (1991), all of which sought to address the trauma of World War II, but left out any indication of Japan’s sense of culpability or responsibility (Fig. It also won the Palme d’Or at the Cannes Film Festival, the first Japanese film to achieve that honour. It tells the story of an aging couple who travel to Tokyo to visit their grown children. ( Log Out /  This is not an example of the work produced by our Essay Writing Service. The 1990s and 2000s are considered to be “Japanese Cinema’s Second Golden Age”, due to the immense popularity of anime, both within Japan and overseas.

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