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mizoguchi

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Journal Article
Camera Obscura (2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
...Akiko Mizoguchi Midori Sawato has become the top benshi in Japan since her debut in 1973, having performed at numerous venues in and outside of her country. A benshi is a performer who provides both the expository narration and the voices for on-screen characters for silent films. When Sawato...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
...Chika Kinoshita Camera Obscura 2005 Chika Kinoshita is a PhD candidate at the University of Chicago, where she is writing a dissertation on the films of Mizoguchi Kenji. Her article on the actress Tanaka Kinuyo and Mizoguchi's mise-en-scène, “Choreography of Desire: Analyzing Kinuyo...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 129–157.
Published: 01 May 1995
... narrative with cinematic realism brings the "aporia" of japanese modernity into relief. First I will discuss Shinoda Masahiro's 1969 film Double Suicide, as the most schematic, overtly revisionary treatment of jap- anese melodrama. It will provide the terms of reference for the anal- yses of Mizoguchi...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 1–13.
Published: 01 December 2005
... Madame Butterfly and its many spin-offs, the Japanese woman became emblematic of a fragile, objectified, and aestheticized femininity. And yet, in Japan, while Mizoguchi Kenji strove to push his star Irie Takako into such archaic forms, she herself was so strongly identified with the moga...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 69–101.
Published: 01 September 2008
..., Japan, 1995), the director “thought hard about how [he] could get this film to be seen by the world as just that — purely a film.” In his director’s notes on the film, he remarks on his heritage and hopes: “Directors like Ozu, Naruse, and Mizoguchi are continuously being shown around...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 47–75.
Published: 01 May 2001
Journal Article
Camera Obscura (2005) 20 (3 (60)): 15–55.
Published: 01 December 2005
...), Mizoguchi Kenji’s Ugetsu (Ugetsu monogatari, 1953), and Kinugasa Teinosuke’s The Gate of Hell ( Jigoku mon, 1953). At the same time, director Naruse Mikio produced melodramas at Toho, and his films not only contributed to the studio’s garnering of female audiences but also refined the melodrama...