American acting programs

Students who have chosen the theater as their main direction of their studies study various aspects of dramatic art – from the design of the costume to the actual trends in the modern theater. Do not stand aside and other media: students can purposefully prepare for an acting or directing career in film and television.

The degree that future actors receive, filmmakers and screenwriters after completing their studies at the university is called Bachelor of Arts (BA) or Bachelor of Fine Arts (BFA). Some universities also offer master’s programs – Master of Fine Arts.

It must be said that it is possible to study acting skills or the history of the theater not only in the institutions of acting. Similar programs are offered by many liberal arts colleges. However, in the labor market in all countries of the world, the diplomas of specialized schools are the most valuable.

The best universities of acting in the USA

In 2016, the authoritative American magazine the Hollywood Reporter published Top 25 best theater schools in the world. The top five leaders were 4 American schools:

The Juilliard School, New York

The Juilliard School has for many years retained the title of the best educational institution in the world, teaching future actors, musicians, dancers. In 2016, the school once again led the global ranking of universities specializing in teaching performing arts from QS World University Rankings.

Yale School of Drama, New Haven

Yale School of Drama occupies the 25th position in the above rating. The school has programs for all theatrical specialties: acting skills, costume design, lighting design, sound design, direction, drama and dramatic criticism, theatrical management, etc. There are more Broadway productions and nominations for the Tony Award in the institution’s box than any other theatrical school in America.

Tisch School of the Arts, New York

Tisch School of the Arts prepares not only theatrical actors. The list of school programs also includes such courses as a movie and television. Among the people associated with Tisch, many famous film and theater actors, directors, playwrights and producers: Anne Hathaway, Woody Allen, Martin Scorsese, Oliver Stone, Debra Messing, and others.

UCLA, Los Angeles

Unlike many other educational institutions in the rating, UCLA is not a theatrical high school. However, university programs for the training of actors, dancers, directors compete confidently with similar courses in specialized universities. Many graduates of UCLA now work on Broadway and in Hollywood.

Also in the Top-25 were such American educational institutions as 25 UC San Diego, The Old Globe and University of San Diego Shiley Graduate Theater Program, Columbia, A.R.T. at Harvard, CalArts, Rutgers, Carnegie Mellon, American Conservatory Theater, DePaul, University of Washington, UC Irvine, USC School of Dramatic Arts, Brown, Boston University, University of North Carolina, University of Wisconsin, Actors Studio Drama School at Pace University.

The cost of studying at the universities of acting in the US

Training in a prestigious theatrical high school in America is worth a lot of money. For example, the year of study at the Yale School of Drama will cost about $ 30,000. On the study materials, accommodation and food will have to spend about 20,000 dollars a year.

At the same time, many American universities are not averse to paying (in whole or in part) studies to talented students. In the same Yale School of Drama, the maximum size of the scholarship is 35,500 dollars.

As a rule, scholarships are awarded on the basis of the academic success of the student, a portfolio of works that includes photo, video and other formats of materials and / or listening.

Pace University, ranked 25th in the Hollywood Reporter rating, is working closely with the Kevin Spacey Foundation, which provides scholarships for theater students.

The amount of financial assistance is 10,000 dollars a year – a quarter of the total cost of training in the Actors Studio Drama School. Every year, 7 outstanding students are awarded scholarships in the following fields: acting, theater, musical theater, direction, theater / film production.

Another American college, famous for its theatrical programs, Ball State University offers young talents to take part in the contest for one of 10 presidential scholarships. The amount of funding is 12,000 dollars per year (more than a third of the cost of training).

Acting education in America is a great start for an ambitious and talented student. Graduates of institutes of acting in the USA are the most frequent guests at the presentation of international prizes in the field of cinema and theater.

The post US acting universities: the best universities for future stars appeared first on richardfigures.com.

Entertainers become compensated countless due to their name alone could bring in individuals to an event (Browns, 2005). By drawing visitors to an event, while it is a comedy series, a genre or even a picture, entertainers are earning earnings that justifies their wages that is enormous. However, in case this activity film generates $200 million in box-office receipts, and $100 million in pure profit (affiliate advertising and supply costs), Pitt’s salary can be really a little proportion of this cash that the film earned, although he could be just one of the principal reasons people flocked to watch the movie.

That is known as “celebrity power”, and not many members of the world own this, and people that do, are paid as stated by the countless they could generate. The amusement planet’s money is celebrity power and gift that is infrequent, and the moguls who have the maximum entertainment businesses that are successful understand that paying money of their own profits can increase. Here really is why entertainers are worth exactly what they have been paid.

The post Why are sportsmen and actors paid so much? appeared first on richardfigures.com.

One of the main such ambivalent figures in “Princess Mononoke” — the owner of the forest, an amazing creature with features of a stag and a dragon and a face that looks like a human face, each step of which grow and then die flowers and grass. At midnight the owner of the forest is transformed into a translucent giant. The basis of this image a few mythological creatures: two positive and one negative. First, it is a qilin (Chinese), or Kirin (Japanese), — a wonderful chimerical animal, symbolizing peace and prosperity. This image was born in the Chinese texts but gradually spread throughout the Far East. Second, bizza (chin.), or hakutaku (Japanese), bull with human face and eyes on the sides, the protector of travelers. Finally, the third prototype — daidarabotchi, a creature from Japanese folklore whose main feature — a huge, more mountains, growing. Daidarabotchi with people is not considered and maybe they even eat.

Although the owner of the forest some characters and negatively viewed, in General, it is rather the image of kami, the deity. Real Mononoke, definitely a negative force in this anime is creepy and weird as black worms, teeming on the bodies of those who give all-consuming rage.

Cleansing

It seems that the cleaning space and cleaning — a fairly common motif: think of Hercules and the Augean stables or Snow white from Disney. However, Miyazaki it is much more common than anywhere else. Behind this Japanese attitude to cleanliness, which is based on Shinto, ancient partially absorbed close to shamanism customs. Central to Shinto is the purification (jap. on-harae) is both a spiritual and a bodily. Any contamination needs to be cleaned, and almost all can defile — death, birth, sin, sickness: it is no coincidence, for example, at the entrance to a Shinto Shrine should rinse your mouth and hands.

Heroine almost all of Miyazaki’s films are faced with the need to cope with dirt, disorder. In “My neighbor Totoro” and “Witch’s delivery service” they just need to fix up the old house. The task in front of Chihiro from “spirited away” is much more complicated: she gets a job in the bathhouse of the spirits and must first clean the horribly dirty bathroom, and then atone for a stinking deity.

Miyazaki is with great pleasure that shows the purity after the horrible dirt — and this is a sacred relation to purity, to strive for the adherents of Shinto, and which is very characteristic of contemporary Japanese society.

The transformation into beasts

The theme of turning into a pig first arises from Miyazaki’s “Porco Rosso”, where the protagonist, in fact, he sends a curse upon me and because of self-hatred becomes a pig. In “spirited away” in the pigs become the parents of Chihiro, the main character, once with no demand will be accepted for the food in the restaurant for spirits. This grisly scene can be explained with the help of Japanese Buddhist folklore: rebirth in the next life in the animal as a punishment for greed and appropriation of other people’s good — a common motive in Japanese legends. This punishment emphasized the power of karma and the inevitable retribution. However, pigs in medieval Japan is not diluted, so often in folklore featured bull: becoming a beast of burden, people get a chance to work their harm.

In the beginning of the film, Chihiro is in a depressed mood and offended — at my parents and at myself. Gradually, she learns to be patient towards others of its strange creatures, then he forgives the parents and saves them. This motif of salvation of the parents of the child are also characteristic of the Buddhist legends: being forgiven, the parent gets a chance at rebirth.

Paper birds

One of the main characters in “spirited away”, a young man named Haku transforms into a dragon, which pursues a flock of little paper figures. It is easy to assume that the prototype of these birds — hitogata (Japanese “doll”), small sheets of paper in the shape of human figures, used in Shinto ritual of the Great purification. The participant can buy in the sanctuary of the workpiece, to write his name on it, to blow and put in a pile of figures, other people. During the ritual, the priest will throw all of the papers hitogata in the river, and they’ll take bad luck and illness. This image of a flying paper figures Miyazaki used in his film.

Robots

The characters of the anime “castle in the sky” trying to find a way to the lost country on a flying island Laputa. They use the girl, whose ancestors ruled over the lost civilization of Laputa and which are subject to multipurpose robots. These slow-moving giants with a streamlined shape and long arms are one of the most intriguing elements of the film and work of Miyazaki as a whole.

Buddhism that emerged in Japan in the first half of the VI century, plays a crucial role in the politics and culture of the country so far. Sacred center of Buddhist temple — statues of Buddha and Bodhisattvas, beings achieve enlightenment. Sometimes these figures resemble humans, sometimes their features are not similar to men: long arm, descending below the knees, short neck, webbed fingers. Creating the statue, sculptors had tried to create an image of the Great beings mentioned in various Buddhist texts.

The robots of “Heavenly castle Laputa” resemble statues of Buddha and Bodhisattvas: the same simple, streamlined form, elements inserted into each other, as in the constructor, long arms below knees, a broad chest. These images are familiar to every Japanese, and probably they were for Miyazaki’s source of inspiration.

The post What you need to know about Miyazaki Part 2 appeared first on richardfigures.com.

Spirits and deities

At the beginning of “spirited away”, we see how the family of three goes to a small town or village in search of a new home in which they have to move. Heroes call on the forest road, you know that took a wrong turn, try to pass through and fall into the abandoned amusement Park, which, as it turned out, inhabited by spirits. And not even just spirits. In the picture, which shows the beginning of the abandoned road, you notice the torii is a wooden gate special form, always marks the entrance to a Shinto Shrine. Also, if you watch the movie in Japanese, you can hear that the characters-the spirits are not called the zombie — that is, ghosts and kami. Kami is a deity of Shinto, which, according to the Japanese worldview, inhabit all the world: there are kami of mountains, kami of the rivers, kami of the garbage.

There is a powerful kami, who are responsible directly for the whole range of phenomena: for example, Inari, the deity of harvest, rice, and along with a successful business, and Amaterasu kami of the sun and of the Supreme goddess. Handmade vintage things, too, can become kami and are called a: in folklore often occur parasols and lanterns, which became Kami can live in the ancient trees or the rocks. These house spirits are highlighted in a special harness made of rice straw with zigzag paper strips (jap. shimenawa). Shimenawa encircled camphor tree in the anime “My neighbor Totoro” (1988) — and Totoro is a powerful spirit of this tree.

The owner of the forest demons Mononoke

Miyazaki almost in his every film raises the issue of the dual perception of a higher power. Most fully this topic is covered in the movie “Princess Mononoke”. In it, Miyazaki depicts the confrontation between the people trying to conquer the primeval forest “for the benefit of civilization,” and those who inhabit this forest — mythical creatures, animals-by object and girls, who grew up among wolves.

The post What you need to know about Miyazaki Part 1 appeared first on richardfigures.com.

Inna Gens, Toshiro Mifune. “Masters of foreign cinema” (1974)

The story of the life and career of Japanese actor Toshiro Mifune. In the application published filmography actor started his film career up to 1971.

“Akira Kurosawa” (1977)

The collection includes a large introductory article of the master’s work, a filmography of the Director (prior to 1975), followed by comments of the author about their works, literary script of the film “to Live,” interviews and articles Japanese critics and historians of cinema.

Akira Iwasaki. “Contemporary Japanese cinema” (1939)

First published for the Russian-speaking public a translation booklet that tells about the history and current state of Japanese cinema. The publication is illustrated with portraits of film stars, scenes from films, photos, cinema, tables, graphs and diagrams revealing the development of film industry in Japan. Contains announcements of films released in the late 1930-ies. Bibliographic rarity.

Akira Iwasaki. “Contemporary Japanese cinema” (1962)

The book details the path done by the Japanese film industry from 1931 until the early 60-ies of XX century; special attention is paid to the place of film in the public life of Japan. The author analyzes the artistic features of movies and their relationship with traditional ethical and aesthetic ideas of the Japanese. The second half of the book consists of essays of the masters of Japanese cinema. In the application a description of some 90 films 1945-1956 years mentioned in the book.

On the 150th anniversary of the establishment of diplomatic relations between Japan and Russia. Fragments from the book of a researcher of Japanese film culture Noel birch “Remote observer. Form and meaning in Japanese cinema”.

Reflections of Roland Barthes about the Japanese culture. Articles about the work of the classics of Japanese cinema — Yasujiro O, Kenji Mizoguchi, Nagisa Oshima, Akira Kurosawa and Hiroshi Shimizu. Reviews of contemporary Japanese cinema. Articles and archival publications on the relationships of Japanese and domestic movie culture. A compilation of short essays on the “The Sun”.

Anton Dolin. “Takeshi Kitano. Childhood years” (2006)

Book game, based on a careful study of films, texts and interviews the Director, as well as books and articles about him in English and French. Film critic Anton Dolin attempts to “bring the algorithms that are fair and a few years after the completion of the creative biography of Takeshi Kitano”. In apps published an interview with the Director, the author of the book in 2002-2005, and an annotated filmography (until 2005).

“Takeshi Kitano. Autobiography” (2011)

Biography of the filmmaker, told by himself and written by the French journalist Michel Thammanam.

Translation published in 1974, a study of a major specialist in the history of Japanese cinema — American film critic Donald Richie. The book is based on interviews with Yasujiro OZU and his colleagues, and on a thorough examination of the film. Analyzing the stages of filmmaking — from script to editing, the author of the monograph traces the specificity and evolution of the creative method of OZU, describes the picture of the world of the Director, determine the subject and theme of the movie wizard, the scheme of their construction. The app is published filmography outstanding Director of world cinema.

In addition, in 2001-2014 years the Moscow retrospective of the films of the State Central cinema Museum together with the Japanese Foundation has published a series of pamphlets dedicated to the work of the greatest Japanese Directors Mikio Naruse, Kenji Mizoguchi, Janoska Gose, Tanoka Kinugasa, Hiroshi Shimizu, Masaki Kobayashi, Keisuke Kinoshita, Sadao Yamanaka, Kona Ichikawa, Shohei since the beginning of photography by Shindo, Nagisa Oshima, That Utida, Sajana Suzuki, Kihachi Okamoto, as well as artist movie Takeo Kimura.

A significant portion of publications on the cinema of Japan, including pamphlets from the Museum of cinema, can be found in the library of the Department of Japanese culture Japan Foundation in a library for foreign literature in Moscow.

The author expresses sincere gratitude to the Japan Foundation and personally to Ms. Yoko Sakanoue helped when editing this list, as well, and for the opportunity for a number of years to get acquainted with the history of Japanese cinema in Moscow and in Japan.

The post Japanese cinema for beginners Part 6 appeared first on richardfigures.com.

The traditional monograph concerning the background of the Business program and also Western theatre of Asia. Brian Richie arrived with the army in Asia after-world struggle two stays the biggest within the West, expert within the area of reports of Western theatre and tradition of Asia Generally and was. He’s the writer of many publications about the background of Western movie and monographs about the functions of OZU and Kurosawa, that has undergone many models. His combined study with Paul Anderson’s 2nd section contains little posts of character that is encyclopedic about stars of Western theatre and the most well-known Administrators. The book is compounded about the sequence program of “instructor — pupil” using the “genealogical” shrub Western Administrators. Within the second version imprinted the composition writers after 1959 concerning the improvement of Western theatre. About the 100 years background of Western theatre Richie has printed greater than a common monograph at the start of the century, since the century that was entire. A unique Section was dedicated to the history of documentary and lively movies: Mark Richie, “One Hundred Years of Western Movie: A Brief Background, having a Picky Manual to DVDs and Movies” (2001; modified version: 2005).

Sato. “Theatre Of China” (1988)

Compiled by among the biggest scientists of cinematography of Asia intro towards the background of Western theatre through the evaluation of crucial styles, motifs, and pictures of the movies (“idol”, “feminine heroine”, “dad”, “household”, “villain”). Vocabulary the guide was converted from 1982’s British version, consists of many documents formerly printed in Japanese of suggestions in Western theatre underneath the name “Background.” The guide was accompanied by documents about the experts of the theatre of Asia and especially created for that British version are sections about the procedures and phenomena and also the impact of international movies within the film 70 years. It’s significant this may be the first movie background guide, converted especially for the American audience and compiled by Western. The Euro version is compounded by two posts of the writer, converted in the Western and Language dialects. Until 1981 a short chronology of Western theatre within the software.

Inna Gens. “Questioned. Western filmmakers 60-70 years” (1988)

The just Euro-vocabulary study about the cinematic new-wave that is Western. The final monograph on Western theatre Inna Juliustown gens (1928-2014), quite a long time stayed the only real skilled movie critic-japonicum within the USSR. The monograph informs concerning Western filmmakers of the 1960s’ function and WI 70s, decades. Their work is analyzed by the writer at the wide panorama of theatre and existence of Asia. Within the software printed filmographies of Directors.

Galbraith IV. ” The Filmography that is Japanese. An Entire Mention of The 209 Filmmakers and also the Around 1250 Movies Launched within the USA, 1900 through 1994″ (1996)

The absolute date that is most substantial to filmographies Guide on Western theatre printed beyond Asia. 80 websites are by their solo component, and also the films’ explanation is approximately 400. The listing includes a tip towards the converted film games and also the unique.

Kaufman. “Western theatre” (1929)

The very first within the Euro vocabulary summary of modern state and the real history of Western theatre. Towards the explanation of the style details of Western theatre, unique interest is compensated within the guide, informs the program of leasing films and also concerning the main galleries of Asia. Whilst S prints within the post the software. L. Eisenstein “behind-the-scenes”.

“The exhibit “Western theatre” (1929)

With Nahum’s guide Kaufman may be the first individual book on Western theatre within the vocabulary that is European. Its launch was timed towards the first within our nation and also the exhibit this program of Western movies proven in 1929 in Moscow. a Foreword is included by the selection by Olga Kameneva and three posts of the renowned specialists — “Theatre in Asia” Conrad, “the Sociable and official facets of the Western films” Kaufman and ” film cards that are Western ” Arkin. Scarcity that is bibliographic. Republication: the journal “Movie background notices”, № 75, 2005.

Georgiy Avenarius. ” From Western quiet theatre” “Theatre and period “‘s background, vol. 4 (1965)

The very first (following a lengthy interval) concerning the background of Western cinema of the quiet period (in the source towards the introduction of audio), that will be the format of Section 16 “the real history of planet theatre,” which G. A. Avenarius labored until his life’s last times. Area was created within the 40 that was overdue and it is nevertheless the absolute most extensive retrospective overview of Japan’s quiet cinema, consists of theatre that was domestic.

Inna Gens. “The sword. The concept of battle in Western theatre” (1972)

The monograph of Inna gets after protecting it in the Moscow Start of art-history Ph.D. in 1966. Dissertation ” Western theatre that is independent “. The guide traces the real history of battle movies associated with the life span of Western culture throughout the Next world-war and following its finish (as much as 60 years). The evaluation of the period of the very significant movies: mainly anti-war and as militaristic. Unique interest is compensated towards the tale of the movies focused on the misfortune of Nagasaki and Hiroshima, and also the movies discover including informing concerning the samurai, the character of the forming of Western militarism. A substantial devote the monograph may be the evaluation of the movie “kids of the atomic-bomb”, images by Shindo, “the individual Situation”, “Harakiri”, “Insurgent” and “Western childhood” (“Hymn to some exhausted guy”), Masaki Kobayashi, “Area lamps” Kona Itikawa, “Pigs and battleships” Shohei because the starting of “the greatest evening of Asia” Kihachi Okamoto.

The post Japanese cinema for beginners Part 5 appeared first on richardfigures.com.

Takeshi Kitano. “Fireworks” (“Hana-bi”), 1997

The film, which the Director came to international acclaim, recounts the last journey through the heritage sites of Japan former police officer Nishi (Takeshi Kitano) and his terminally ill wife, earlier lost their four-year-old daughter, who died of leukemia. The quintessential corporate style of the leader of the contemporary cinema of Japan, combining a mixture of various genres, film language concise and terse manner of acting. The special atmosphere of the film-the farewell gives the music Jo Hlsalshi (award of the Japanese Academy). Vogue magazine called the film one of the best in the last decade of the twentieth century. “Golden lion” at the Venice film festival (1997). European film awards in the category “Best foreign film” (1997). The national film award of France “Cesar” in the category “Best foreign film” (1998). Numerous Japanese film award (“Blue ribbon”, “Cinema, Juno”, “Mainichi”, etc.) in the major categories.

Hideo Nakata. “The ring” (“Ringu”), 1998

An absolute hit Japanese rolled, shot based on the novels by Koji Suzuki “call” and “Spiral”, and spawned many spin-offs, imitations, and remakes both in Japan and abroad. The unfolding on the verge of reality and dream nonlinear plot and austere visual style hides a masterful Director, able to recreate the atmosphere of panic and his discharge without showing actually terrible. Famous Russian film critic and filmography map the movie “the importance for the development of the genre of a mystical horror film with some artistic effect on the audience and filmmakers for 20 years before that the American film “Halloween” John carpenter”. The film won prizes at festivals of a fantastic film in Brussels and Montreal.

Kindzi Fukasaku. The battle Royale (“Batoru rowaiaru”), 2000

A cult film made on the novel-dystopia of Kosuna Takami, developing ideas repeatedly filmed “Lord of the flies” by William Golding. The movie tells the story of schoolboys who find themselves at the behest of adults on a remote island, where of the 42 adolescents as a result of their three-day fight with each other for existence allowed to survive only one. The main adult role of a former teacher, performing the functions of a master of ceremonies of the bloody game takes Takeshi Kitano. One of the few films in modern Japan, who initiated a debate in Parliament that led to the establishment of the film age restrictions, usually in the Japanese film industry missing. In 2001, the film was awarded six Japanese film awards (awards of the Japanese Academy and Blue ribbon) in the major categories. The work of 70-year-old classic films about the Yakuza Kindzi Fukasaku was highly appreciated by Quentin Tarantino, who in a poll on Sky Movies top 20 movies released since 1992, has put the battle Royale in the first place your personal rating. Three years after the release of the film Fukusaku did the sequel “battle Royale — 2”, which became his last work in the movie. Currently in production is a remake of the film of 2000.

Ejiro Takita. “Gone” (“Okuribito”), 2008

In the center of the story — the story of a young cellist Daigo left without work. In his native town, where he moved from the metropolis together with his wife, he is offered a service in a certain Agency, which is the funeral: Daigo have to wash the bodies of the dead, fix them and prepare for the funeral and cremation. Exploring unusual profession, which in Japan is not among the high status, the character takes on a new meaning in life, becoming first a gifted apprentice funeral, and then the true master of ceremony. The music for the film was written by Jo Hlsalshi, famous for creating the soundtrack to the cult animation. In fact, the only Japanese film that received an Academy award “Oscar” in founded in 1956, the category “Best foreign language film” (2009). Many Japanese movie awards (award of the Japanese Academy, “Cinema, Juno” and “Mainichi”) in various categories.

Akira Iwasaki. “The history of Japanese cinema” (1966)

The most thoroughly set out the history of Japanese cinema from the end of the XIX century 60-ies of XX century in the Russian language. Observe the influence of the traditions of the Kabuki theater, the theater school of the SIMP and the new theater, shingeki the aesthetics of Japanese cinema; the analysis of the major genres of Japanese cinema in their development. The book analyzes not only the artistic features of works of Japanese filmmakers but also traces the history of the film industry — studios, knob jockey, rental systems. Separate chapters are devoted to the work of major Directors, Sexo Makino, Tanoka Kinugasa, Sadao Yamanaka, Mansaku Itami, Tadashi Imai, Keisuke Kinoshita, Akira Kurosawa etc. Especially for the Russian edition of Akira Iwasaki wrote the afterword in which the presentation of the history of Japanese cinema is brought to 1964. The app is published a chronological table of the history of the Japanese cinema from 1896 to 1960.

The post Japanese cinema for beginners Part 4 appeared first on richardfigures.com.

Seijun Suzuki. “The tramp from Tokyo” (“Tōkyō nagaremono”), 1966

One of the most famous and loved films of Suzuki in tune with the popular mood in Japan the song “the Tramp from Tokyo”, which was released on the album a year before the film and became its main theme. Exploiting the standard scenario moves Yakuza movies, directed with an unusual decorations longstanding collaborator of his films artist Takeo Kimura, unexpected colors and exaggerated when he mocks genre conventions of the gangster film, as well as on the commercial essence of the Japanese film industry. The film was called “the real feast”, a tribute of gratitude to the Grand musicals of Hollywood’s Golden age.

Eisige Yoshida. “Eros + cruel murder” (“Erosu purasu gyakusatsu”), 1969

The story of the life of Japanese early XX century anarchist Sakae Osugi, who preached free love and the abandonment of marriage as the Foundation of the political and social system of the state. These ideas became popular again in the 60-ies, was close to the Director: “My interpretation of the material in the film was a triple denial: of monogamy, economic systems and of the sexes”. The second layer of the story — the story of three young people gathering material for the filming of a television movie about Osugi. The film, which was at that time under the influence of the ideas of the left Freudianism, a number of critics called the Japanese equivalent of Felliniesque “8½”, but deeply pessimistic, leading to the suicide of one of the young Directors of the film about Osugi in turn killed by the police in 1923, during the riots that erupted in Japan after the Great Kanto earthquake. Black-and-white motion picture with a significant predominance of white color, against which the graphic clarity of the looming figures of the actors in a black kimono, was named by Japanese film critics as a masterpiece of calligraphy and got hot recognition from Western critics as one of the masterpieces of the “new wave”. Along with the films “Heroic purgatory” (1970) and “Order on the protection of the city” (“state of war”, 1973) “Eros + brutal murder” is a kind of trilogy Yoshida about the roots and destinies of radicalism, the end of which the Director of 13 years, will leave cinema.

Masahiro Synod. “Suicide of lovers on the island of sky Networks” (“Shinjû: Ten no Amijima”), 1969

Staged by the drama be recognized masterpiece of the Synod, in which he tries to link the techniques of theater dzoruri (the play was written in 1720 for him) with the poetics of cinema “new wave”. Particularly acute this clash of techniques of different arts gives a permanent presence in the frame, where there are live actors, kurogo (puppeteers medieval theater dressed in black) that embody the unforgiving rock, host of lovers, ignoring all social taboos to reach ecstasy in a double suicide. At the same time in drama film of the Synod follows the principles of Noh. The film became the winner in several categories of the Japanese awards “Kinema, Juno” and “Mainichi”, including best film (1970).

Yoji Yamada. “Otoko was tsurai yo”, 1969

The film is one of the leaders of the social cinema of Japan opening series of 48 pictures depicting a travelling salesman of cheap goods — take. The main character of the movie series was Tora-San, Torajiro Kuruma, is a lonely oddball, ready at any moment to come to the aid of their neighbors; initially, it was a serial telecast on scenario Yamada. The actor Kiyoshi Atsumi (prize, “Mainichi” and “Cinema, Juno” in 1970 for best male role) became a favorite of the Japanese audience, seeing stories about good-natured of amorous solitary man living in the suburbs of Tokyo, is the idealization of life in old Japan was based on a good-neighbourly relations and strong family ties. In the same year, the Director put the film “the Man has a hard life. The sequel”. The third and fourth films put his collaborators on the show, but since the fifth film, Yamada was the only author of all the episodes of the cycle. The movie series was discontinued in 1995 after the death of the actor Kiyoshi Atsumi. A series of “Man life is hard” is included in the Guinness Book of records as the longest movie series in the history of world cinema.

Kay Komai. “Shinobugawa”, 1972

Adaptation of the novel of the writer Tetsuo Miura’s “River of patience”, which takes place in the Tokyo of the early 20‑ies. Poetry, devoid of a complex plot love story “little people” imbued with a sadness and a craving for a traditional way of life, to the usual ethical and aesthetic values, returning to the spiritual life of Japan after the rebellion of the sixties. The film was accompanied by a big box office success at home.

After the show in 1973 in the competition program at the international film festival in the Soviet Union began the fame of the actress Komaki Kurihara, later played a major role in the joint Soviet-Japanese films of Alexander Mitta “Moscow, my love” (1974) and “Shag” (1988), and in the film by Sergei Solovyov “melodies of the white night” (1976). “Shinobugawa” — winner of the Japanese film awards “Kinema, Juno” and “Mainichi” (1973) in seven categories, including best film.

The Shohei Imamura. “Narayama-bus kô”, 1983

The film, loosely based on the story of Sitio Fukazawa, set in the nineteenth century in an impoverished Japanese village, where the people entered the ritual killing of useless members of the community: newborn boys just kill the elderly and their own children will relate to the top of mount Narayama and left there to die. Imamura creates a philosophical essay on the meaning of life, thinking about human nature, about the collision in it is archaic and humanistic principles. One of the few outstanding films of the Japanese new wave, trapped in the rental in the USSR in the perestroika years and had great success. “Palme d’or” at the Cannes IFF in 1983 (the second time Imamura’s gonna get her in 1997 for the film “the Eel”). Award of the Japanese Academy, Blue ribbon and “Mainichi” in several categories (1984).

Kohei Oguri. “Shi no toge”, 1990

The core of the film on the eponymous work by Toshio shimao. Despite numerous suggestions to the author about the film adaptation from Nagisa Oshima, Masahiro Shinoda, and other prominent Directors, consent was obtained only Oguri, but the film was completed after his death. The film, which became largely a hallmark of the Director in the West, masterfully reinvents the language of cinema, the images created Simao. The story of the crisis in the relationship of a middle-aged married couple, which many critics saw a kind of return to the themes of the films of yasujiro OZU are seen as the intertwining of surreal visions and the ordinary everyday life. A significant role in the poetics of the film music plays Toshio Hosokawa. Grand jury prize and the FIPRESCI prize at the Cannes IFF (1990). In 1991 the film was awarded a dozen Japanese film awards (award of the Japanese Academy, Blue ribbon, “Cinema, Juno”, “Mainichi”) in the major categories.

The post Japanese cinema for beginners Part 3 appeared first on richardfigures.com.

Yuzo Kawashima. “Bakumatsu taiyôden”, 1957

The film is screenplay by Shohei since the beginning, with whom the Director worked since 1954 at the Studio “Nikkatsu”, along with him before leaving “Seiko”, where they together began a film career. Admittedly, historians of cinema is characterized by the spirit of burlesque and black humor, the film combines new had the potential of traditional Comedy. Speaking about the events on the eve of the Meiji restoration, the Director focuses on a seemingly marginal story, which takes place in the “red light district” in Shinagawa. But it was the gags, jokes, obscenities, the filmmakers reveal the full controversy of the era of change — both historical and relevant time of creation of the film. Starring Frankie Sakai was awarded “Blue ribbon” and “Cinema, zumbo” in the nomination “Best male role” in 1958.

Kon Ichikawa. “Enjō”, 1958

The film is based on the cult novel by Yukio Mishima “Golden temple”, which is based on an incident in 1950 when a young novice had set fire to the famous Golden temple (Kinkakuji) in Kyoto, burned the result to the ground. The first film adaptation of the novel was prepared in cooperation with the writer, which approved the change in the nature of the calling, the compassion of the main character into a frenzy to bow before the pure beauty. Keeping in the spirit of the film adaptation of the novel, the Director develops a particular visual language, brilliantly using a wide image and deep staging.

The film won several Japanese awards in different categories (“Blue ribbon”, “Cinema, Juno”, “Mainichi”), and starring, Raizo Ichikawa was awarded the New Cinema Award for best actor at the Venice film festival (1959).

The Photography By Shindo. “Hadaka no Shima”, 1960

Wordless masterpiece Shindo, after the triumph at the festival, purchased for Soviet rental and become a cult film in the USSR for many years, a peculiar example of the so-called Japanese style. A story about the everyday life of a simple family on a small island without sources of fresh water. After going through the trials and death of his son, a man and a woman from day to day continue to bring on the naked island fresh water to cultivate the land. Music Hikaru Hayashi, accompanying all the action for a long time has become an audible symbol of the film. The big prize in Moscow international film festival (1961).

Nagisa Oshima. “Nihon no Yoru to Kiri”, 1960

Perhaps the most radical experiments in film from the leader of the Japanese “new wave”, as raising political issues, and moral. In the center of the film, beginning with discussions during the wedding ceremony, the controversy about the fate of the left student movement “national student organization of Japan (Zengakuren”), which turns into a story about his own youth Director. The film consists of 47 planes of episodes, in which the camera is always in motion. The title of the film echoes the name of the documentary, Alain Resnais about the Nazi concentration camps, “Night and fog”. Criticism took this job as a “political weapon Oshima” and as “a leaflet, thrown into the crowd by the progressive camp.” The film was shot with a rental Studio “Seiko” — it is possible that as a result of political pressure; this, in turn, forced Oshima to leave the Studio and create your own “Azosa”. Nagisa Oshima was awarded for the film award “Blue ribbon” as the best young filmmaker of Japan (1961).

Tadashi Imai. “Bushido zankoku monogatari”, 1963

The film is about commitment to the samurai code of Bushido of the house of representatives Higura for nearly 400 years — from the era of the Tokugawa until the 60-ies of XX century. A modern descendant of a samurai clan leads his first-person narrative, telling about the seven generations of the family (the role performed by Kinnosuke Nakamura award “Blue ribbon” in 1964, which masterfully reveals to the audience his acting range throughout the film narration). Tracing the fate of the kind Higure, the Director reflects on the nature of loyalty to the overlord and self-sacrifice on the part of the vassals and servants of the mechanisms of retention of the code of conduct of Imperial Japan, since the Meiji era, during the Second world war, and in modern Japan. “Golden bear” at the IFF in Berlin (1963).

Hiroshi Teshigahara. “Suna no Onna”, 1964

Adaptation of the novel by Kobo Abe. In 1950, the fate of Kobo Abe Hiroshi Teshigahara — an outstanding Director, sculptor, calligrapher, and master of the tea ceremony, the son of the founder of the school of ikebana Sogetsu. In conjunction with Segi Shin’ichi and Hiroshi Sekine, they became members of the avant-garde of the creative Association “Seiki” (“Century”). The movie “the Trap” (1962), the script was reworked absurdist play Abe, became the first experience in a feature film for Teshigahara, which since 1953 was shooting experimental films. But the real glory brought both of the novels, the film adaptation of Abe’s “the Woman in the sand” (1964), “Alien face” (1966) and “Burnt map” (1968). A special jury prize at the Cannes IFF (1964). The film was nominated twice for the Oscar (1965, 1966) and received in 1965, several Japanese film awards (Blue ribbon, “Cinema, Juno”, “Mainichi”) in different categories.

Masaki Kobayashi. “Kwaidan”, 1964

A screen adaptation of fantastic four stories from the collection of the traditions of the Japanese Yakumo Koizumi (Lafcadio Hearn). The first color widescreen film, which he based on poly plots creates the sample adaptation of traditions of national Japanese fiction for an international audience, given the experience of Western horror films. The film is almost entirely shot in the pavilion and combines the sophistication of a picture composition with expressive color schemes. It was completely overdubbed after filming and has become a benchmark example of the style of movies about ghosts, so far from the life of the reliability of the previous paintings Kobayashi in the first place from which brought him international fame ambitious of the trilogy, “Destiny of man” (1958-1961). A special jury prize at the IFF in Cannes (1965). The film was nominated for “Oscar” (1966) and received in 1965-1966 Japanese film “Cinema, Juno” and “Mainichi” in different nominations.

Kihachi Okamoto. “Chi to suna”, 1965

The film is based on the novel by Keiichi it, “a Bitter chronicle of the war” and tells about the events that unfolded in the fortress Akiba (China) in the summer of 1945 when the seat of hostilities arrive the young graduates of the music school. One of the best anti-war films of Japan talks about the service and death of young, poorly trained guys to throw the military establishment of the army for the protection of the last frontiers before the surrender. A kind of Japanese equivalent of the German film of Bernhard Vicky “the Bridge” (1959). The story is told in a tragicomic manner, which is typical for the style of anti-war films Okamoto as a whole. One of his best military roles in this film played by Toshiro Mifune (Sergeant Kosugi), an independent Studio which “Mifune about” was filmed. This masterpiece was a huge success and has revitalized the film company, founded in 1963 is an outstanding actor.

The post Japanese cinema for beginners Part 2 appeared first on richardfigures.com.

Maxim Pavlov — film critic, 2006-2014 — Deputy Director of the cinema Museum, curator and co-curator of exhibitions and retrospectives of the Museum of cinema and Eisenstein-Fund, including Masaki Kobayashi, photography by Shindo, Nagisa Oshima, Sajana Suzuki, Kihachi Okamoto, Jean-Luc Godard, Krzysztof Kieslowski, Vera chytilová, programs “Golden sixties”, “the Art of Bansi”, days of the magazine “Cahiers du cinéma” in Moscow, annual festival of new cinema Finland, Italy, Latin America “Latino fiesta” in Moscow, etc.

Classic Japanese cinema: 36 masterpieces

This list of Japanese films is not exhaustive. However, the films prepared it, in my opinion, give an idea of the main directions of development of classical Japanese cinema over the past century.

In the course of compiling this list I avoided following any formal numerical constraints (the Golden dozen, a dozen, a hundred, etc.), but still aim to stay within a reasonable, to somehow grasp the immensity.

However, I adhered to the same formal constraints: every master must be represented by only one film. This is a fairly stringent condition, as most Japanese Directors, especially the older generation, was very prolific — filmography many of them includes a good fifty or even a hundred or more films that reflect the specifics of Studio production in Japan. Many of the masters of Japanese cinema repeatedly changed the style of his films, moreover, a significant number of Directors of centenarians has worked in the era of the Great silent and sound film. Because of the performance of each of them with just one masterpiece — a Convention that can be overridden by anyone who wants to learn about Japanese film closer, the more that absolute majority of the represented in the list of Directors included in the history of Japanese and world cinema, and often several blockbusters.

Despite the fact that a huge number of films of Japan made before the end of the Second world war, there remained (as the majority of the Studio’s film archives were destroyed during the American bombing of 1945), making a list, I assumed that all of the films presented in it, are preserved. The vast majority of them translated in recent years into electronic format and is available for those interested in the history of Japanese cinema.

The disparity in the chronological distribution of movies within the list is associated with the above-mentioned circumstance and the fact that, according to most historians of Japanese cinema, the rise of cinematography as an art accounted for 50-60-ies of XX century (however, on this we can speak in relation to the world).

The selection is intentionally not included movies of modern Japanese underground and cyberpunk, as well, and anime, representing a phenomenon of Japanese cinema.

Buntaro, Futagawa. “Orochi”, 1925

A classic example of the early films shot in the genre of jidaigeki films about samurai. Wide recognition the film acquired through the formulation of the action scenes with the actor, Tamasaburo Bando.

Tanaka Kinugasa. “Kurutta ippêji”, 1926

One of the early classic films of Japanese cinema of the older generation, the most known example of avant-garde cinema. Different scholars see in it the features of both expressionism and surrealism. The film, which takes place in a psychiatric hospital, was lifted from a story by Yasunari Kawabata funded by the Director and miraculously survived, he went into the history of world cinema as one of the best examples of experimental cinema.

Sexo, Makino. “Chûkon keiretsu — Jitsuroku Chûshingura”, 1928

The penultimate film of the pioneer of Japanese film that became a classic early example of Kinosternidae the famous story of the 47 loyal ronin.

Janoska Gose. “The dancer of Izu” (“Koi no hana saku: Izu no Odoriko”), 1933

The first of many adaptations of the same story Yasunari Kawabata, filmed a classic movie Japan, who put in 43 years, 97 films. One of the best films of the Golden age of Japanese cinema, with the participation of the movie stars of silent and sound films Kinue Tanaka.

Yasujiro Shimazu. “Tonari no Yae-chan”, 1934

Romantic sound of “home drama”, which tells about the love of students; a typical product of the “realism of everyday life,” the company “Seiko” the so-called direction “Kamata” (named after the location where the Studio), which became the role model for many years.

Sadao Yamanaka. “Ninjō kami fūsen”, 1937

The screenplay was written for the play “the Barber Cinza” Japanese playwright, Kawatake Mokuami the author works for the Kabuki theater of the middle of XIX century. Swan song of the deceased the following year in a field hospital in Henan (China) 28-year-old genius of Japanese cinema, one of the most prominent representatives of his generation. It is believed that the best films of Sadao Yamanaka created in the silent period, but up to the present day, unfortunately, survived only three of his movies already audio period 1935-1937 years.

Tomu Uchida. “Tsuchi”, 1939

The recognized pre-war masterpiece of the master, epically depicting peasant life in Northern Japan. The film was created under the influence of “the Earth” Alexander Dovzhenko and the German expressionism. His only copy was discovered in 1968 in the GDR without the first and last parts, and in 2001 the picture of the first part has been found in the collection of the Gosfilmofond of Russia. One of the first Japanese films participating in competition at the Venice film festival in 1939.

Hiroshi Shimizu. “Kanzashi”, 1941

One of the best examples of modernism Studio “Seiko of OFUNA” with the participation of stars of Tisu Kinue Ryu and Tanaka. Adaptation of the story Masuji, Ibusa “Four bath”, which takes place away from the front line at the hotel at the hot springs: in this utopian space, masterfully crafted for the screen thanks to the famous plans of episodes with camera, unfolds leisurely lyrical reflection of the Director of human feelings, full of latent anti-militarism in wartime.

Akira Kurosawa. “Rashômon”, 1950

The masterpiece masters of world cinema marked the beginning of the recognition of Japanese cinema in the world and brought international fame to the Director and main cast — machiko Kyo and Toshiro Mifune. A free adaptation of two short stories, ryunosuke Akutagawa’s “rashomon Gate” and “often”. The story of an incident told from different points of view. Golden lion and the Italian critic’s prize at the Venice film festival (1951) and honorary Academy award “Oscar” for best foreign language film (1952).

Minoru Shibuya. “Honjitsu kyûshin”, 1952

A shining example of social Comedy, filmed on the works of Masudi, Ibusa in the Studio “Seiko”. The film opened the talent of the actors Jun the Tatars and, Rentaro Mikuni, the last of which for his 60-year film career, took part in more than 180 films, becoming one of the most popular artists of Japan.

Kenji Mizoguchi. “Ugetsu Monogatari”, 1953

The basis of the film, processing the genre of jidaigeki, based on two loosely coupled directed mystery novels Akinari Ueda from the collection “Moon mist” (1768). The feast of the continuous plans and no circuit changes inside the enchanted scenes, who considered the film one of his favorites. Eric Rohmer wrote: “This picture needs to watch those who do and those who are indifferent to it, those who are passionate about Japan, and those whose interests are far from this country.” “Silver lion” and the prize Pasinetti (The National Union of journalists) at the Venice IFF (1953).

The post Japanese cinema for beginners Part 1 appeared first on richardfigures.com.