日本电影
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| 東方電影 |
日本电影 (日本语:映画; えいがEiga)一般然为日本电影开始于1896年，在神户的一家旅馆首次出现。有100年以上的历史。
目录 |
[编辑] 作品
- 日本动画
- 时代剧, period pieces featuring samurai, also known as Chambara (onomatopoeia describing the sound of swords clashing).
- 恐怖电影 films such as Ring, also known as J-Horror
- 邪典电影, such as Battle Royale or Suicide Club
- 怪兽电影: monster films, such as Gojira
- 桃色电影, pornographic films. Often more socially-engaged and aesthically well-crafted than simple pornography.
- 黑色电影: films about mobsters.
[编辑] 歷史
[编辑] The Silent Era
The first film produced in Japan was the short documentary Geisha No Teodori (芸者の手踊り) in June of 1899.
The first Japanese performer to appear in a film professionally was the dancer/actress Tokuko Nagai Takagi, who appeared in four shorts for the American-based Thanhouser Company between 1911 and 1914 (source).
Most Japanese cinema theatres at the time employed benshi, narrators whose dramatic readings accompanied the film and its musical score which, like in the West, was often performed live. (See also the books Benshi, Japanese Silent Film Narrators, and their Forgotten Narrative Art of Setsumei A History of Japanese Silent Film Narration by Jeffrey A. Dym and The Benshi--Japanese Silent Film Narrators.)
The 1923 earthquake, the Allied bombing of Tokyo during World War II, as well as the natural effects of time and Japan's humidity on the then more fragile filmstock have all resulted in a great dearth of surviving films from this period.
Some of the most discussed silent films from Japan are those of Kenji Mizoguchi, whose later works (e.g., The Life of Oharu) are still highly regarded today.
A study of the "gendaigeki" (contemporary/modern film drama) and writing for film in Japan in the 1910s to early 1920s, with select translations of scripts (complete as well as excerpts) is available in "Writing in Light: The Silent Scenario and the Japanese Pure Film Movement" (Joanne Bernardi, Wayne State University Press, 2001).
[编辑] 1930年代
Unlike Hollywood, silent films were still being produced in Japan well into the 1930s. Notable talkies of this period include 溝口健二's Sisters of the Gion (Gion no shimai, 1936), Osaka Elegy (Naniwa erejî, 1936) The Story of the Late Chrysanthemums (Zangiku monogatari, 1939). With increasing censorship, the left-leaning tendency films of directors such as Daisuke Ito come under attack.
[编辑] 1940年代
黑澤明 makes his feature film debut with Sugata Sanshiro in 1943. With the SCAP occupation following the end of WWII, Japan is exposed to over a decade's worth of American animation that had been banned under the war-time government.
[编辑] 1950年代
The 1950s were the zenith of Japanese cinema, and three of its films (Rashōmon, The Seven Samurai, and Tokyo Story) made the Sight and Sound's 2002 Critics and Directors Poll for the best films of all time.[1] The decade started with Akira Kurosawa's Rashōmon (1950), which won the Academy Award for Best Foreign Language Film and marked the entrance of Japanese cinema onto the world stage. It was also the breakout role for legendary star Toshiro Mifune.[2] 1952 and 1953 saw another Kurosawa film, Ikiru, as well as Yasujiro Ozu's Tokyo Story. The year 1954 saw two of Japan's most influential films released. The first was the Kurosawa epic The Seven Samurai (Shichinin no samurai), about a band of hired samurai who protect a helpless village from a rapacious gang of thieves, which was remade in the West as The Magnificent Seven. That same year Ishirō Honda released the anti-nuclear horror film Gojira, which was translated in the West as Godzilla. Though it was severely edited for its Western release, Godzilla became an international icon of Japan and spawned an entire industry of Kaiju films. In 1955, Hiroshi Inagaki won an Academy Award for Best Foreign Language Film for Part I of his Samurai Trilogy.
溝口健二 directs The Life of Oharu (Saikaku Ichidai Onna, 1952), Ugetsu (Ugetsu Monogatari, 1953) and Sansho the Bailiff (Sansho Dayu, 1954).
Mikio Naruse directs Repast (1950), Late Chrysanthemums (1954) and Floating Clouds (1955).
小津安二郎 directs Good Morning (Ohayō, 1959).
[编辑] The 1960s
Technicolor makes its mark. Kon Ichikawa captures the watershed 1964 Olympics in his three-hour documentary Tokyo Olympiad (Tōkyō Orimpikku; 1965). Nikkatsu fires Suzuki Seijun for "making films that don't make any sense and don't make any money" after his surrealist yakuza flick Branded to Kill (1967).
手塚治虫's Tetsuwan Atomu introduces anime to television and gives the world 铁臂阿童木 in 1963.
大島渚, Kaneto Shindo, and Shohei Imamura emerge as major filmmakers during the decade.
Hiroshi Teshigahara's Woman in the Dunes (1964) takes the Special Jury Prize at the Cannes Film Festival, and is nominated for Best Director and Best Foreign Language Film Oscars. Masaki Kobayashi's Kwaidan (1965) also picks up the Special Jury Prize at Cannes.
[编辑] 1970年代
Nagisa Oshima directs Ai no koriida (In the Realm of the Senses; 1976), a World War I period piece about Abe Sada. Staunchly anti-censorship, he insists the film contain hardcore pornographic material; as a result the exposed film must be shipped to France for processing, and an uncut version of the film has still, to this day, never been shown in Japan. However, the pink film industry became the stepping stone for young independent filmmakers of Japan.
[编辑] 1980年代
宮崎駿 adapts his 漫画 風之谷 (Kaze no tani no Naushika) into a feature film (an anime of the same name) in 1984. Katsuhiro Otomo adapts his manga Akira into a feature-length anime in 1988. New anime movies are run every summer and winter with characters from popular TV anime. Shohei Imamura wins the Golden Palm at Cannes for Narayama Bushiko (1983) (Ballad of Narayama; 1982).
[编辑] 1990年代
今村昌平 again wins the Golden Palm (shared with Iranian director Abbas Kiarostami), this time for Unagi (The Eel; 1997), joining Alf Sjöberg, Francis Ford Coppola and Bille August as only the fourth two-time recipient. 北野武 emerges as a significant filmmaker with works such as Sonatine (1993), Kids Return (1996) and Hana-Bi (1997), which was given the Golden Lion at the Venice Film Festival. Not to forget, Takashi Miike makes up to 50 films in a decade, building up an impressive portfolio with titles such as, Audition (1999), Dead or Alive (1999) and Bird People of China (1998). Kiyoshi Kurosawa and Hirokazu Koreeda both launch acclaimed careers.
[编辑] 2000後
宮崎駿 comes out of retirement to direct 千与千寻 (Sen to Chihiro no Kamikakushi; 2001), breaking Japanese box office records and winning the U.S. Academy Award for Best Animated Feature. In 2002, Dolls is released, followed by a high-budget remake, Zatoichi in 2003, both directed and written by 北野武. The horror films Ringu and Ju-on: The Grudge are remade in English and met with commercial success. In 2005, director Seijun Suzuki made his 56th film, Princess Raccoon. Hirokazu Koreeda proclaims film festival awards around the world with two of his films Distance and Nobody Knows.
[编辑] 注解
- ↑ http://www.bfi.org.uk/sightandsound/topten/poll/
- ↑ Prince, Stephen (1999). The Warrior's Camera，Princeton University Press. ISBN 0-6910-1046-3., p.127.
[编辑] 參考
- Bowyer，Justin (2004). 24 Frames: The Cinema of Japan and Korea，Wallflower Press, London. ISBN 1904764118.
- Prince, Stephen (1999). The Warrior's Camera，Princeton University Press. ISBN 0-6910-1046-3.
- Richie，Donald (2005). A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos，Kodansha America. ISBN 4770029950.
[编辑] 外部連結
- Japanese Movie Database (in Japanese)
- Lisa's Japanese Movie Listing
- Midnight Eye
- Cinemasie
- Resources for the study of Japanese Cinema at the University of Iowa Library
- Colin's Master's of Cinema Page
- Japanese Cinema to 1960 by Gregg Rickman
- The Problem of Identity in Contemporary Japanese Horror Films, discussion paper by Timothy Iles in the electronic journal of contemporary japanese studies, 6 October 2005.
- Female Voices, Male Words: Problems of Communication, Identity and Gendered Social Construction in Contemporary Japanese Cinema, discussion paper by Timothy Iles in the electronic journal of contemporary japanese studies, 31 January 2003.
- Reviews of Japanese Films, in the electronic journal of contemporary japanese studies.
- Cinema.3Yen - Daily news and info on Cinema from Japan.
[编辑] 參閱
- Anime
- Eastern cinema
- Glossary:Japanese film credit terms
- History of cinema
- Japanese Academy Awards
- Japanese television programs
- List of Japanese Actors
- List of Japanese Actresses
- List of Japanese Directors
- List of Japanese language films
- List of Japanese movie studios
- Seiyū
- Tendency film
- Tokusatsu
- 日本電影列表
| 亚洲电影 |
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| 阿富汗 - zh-cn:阿拉伯联合酋长国;zh-hk:阿聯酋;zh-tw:阿拉伯聯合大公國 - 阿曼 - 阿塞拜疆 - 澳门 - 巴基斯坦 - 巴勒斯坦 - 巴林 - 不丹 - zh-cn:朝鲜;zh-hk:北韓;zh-tw:北韓 - 菲律宾 - zh-cn:格鲁吉亚;zh-hk:喬治亞;zh-tw:喬治亞 - 哈萨克斯坦 - zh-cn:韩国;zh-hk:南韓;zh-tw:南韓 - 吉尔吉斯斯坦 - 柬埔寨 - zh-cn:卡塔尔;zh-hk:卡塔爾;zh-tw:卡達 - 科威特 - zh-cn:老挝;zh-tw:寮國;zh-hk寮國;zh-sg:寮国 - 黎巴嫩 - 马来西亚 - 蒙古 - 缅甸 - 孟加拉国 - 尼泊尔 - 日本 - zh-cn:沙特阿拉伯;zh-hk:沙地阿拉伯;zh-tw:沙烏地阿拉伯 - 斯里兰卡 - 塔吉克斯坦 - 台湾（中华民国） - 泰国 - 土耳其 - 土库曼斯坦 - zh-cn:乌兹别克斯坦;zh-hk:烏茲別克;zh-tw:烏茲別克 - zh-cn:文莱;zh-tw:汶萊;zh-hk:汶萊 - 香港 - 新加坡 - 叙利亚 - zh-cn:也门;zh-tw:葉門;zh-hk:也門 - 亚美尼亚 - zh-cn:阿塞拜疆;zh-tw:亞塞拜然;zh-hk:亞塞拜然 - 伊拉克 - 伊朗 - 以色列 - 印度 - 印尼 - 约旦 - 越南 - 中华人民共和国 |
