Wyniki wyszukiwania - Biblioteka Nauki

1

National Identity and Nationalism in Japanese Cinema

100%

Loska K.

Kwartalnik Filmowy

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2008

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nr 62-63

81-90

EN

Japanese cinema from its very beginning was involved with the nationalist discourse. Film was used by the Japanese government to present and upkeep traditional values, that were to limit foreign influences from spreading immorality and vice. These tendencies grew in the interwar period characterized by expansionist politics, growing nationalism and militarism. A new type of national cinema (kokumin eiga), was needed. Its purpose was to show the Japanese spirit, uncontaminated by western influences, not only at the level of contents and style, but also in the production methods. This type of cinema was to be represented by historical films (jidai-geki), celebrating the glorious past, and praising patriarchal social structure and feudalism, as well as representing the aesthetic ideal. Also war films and documentaries were to conform to the ideological guidelines dictated by those in power. The author lists various examples of Japanese films representing nationalist tendencies, and places them both within historical and theoretical setting..

2

Cultural Transformation and Its Reflection in Japanese Cinema of the Interwar Period

100%

Loska K.

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2007

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tom 1

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nr 3

118-128

EN

The paper presents the process of Japan's modernization as reflected in the films made in the 1920s and 1930s. The national cinema of that period showed both positive and negative consequences of social, political and economic restoration initiated by the Meiji after 1868. The author emphasizes the strong relations between the film and the changes which characterized the theatre and literature at the turn of the 19th and the 20th centuries, at the same time, pointing out the influences of the classic American cinema, evident in the script, the editing, a frame composition, etc. The basis for analysis are the early films by Yasujiro Ozu, Heinosuke Gosho and Kenji Mizoguchi. The author claims that the cinema became both the symbol of cultural transformation and the reflection of the ambivalent attitude of Japanese society towards the modernization process. A sense of nostalgia for the past, which is so clear in many films, is combined with the awareness of inevitability of change and necessity of abandoning the dreams of independence and self-sufficiency, whereas scepticism towards modem world is balanced with hope for reconciling the contradicting traditions.

3

Women in Mizoguchi's Films: Japan's Film vs. Process of Cultural Changes in the Interwar Period

100%

Loska K.

Kwartalnik Filmowy

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2007

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nr 60

132-144

EN

The article is dedicated to Kenji Mizoguchi's films of the 1930s when he developed his own distinctive artistic style that manifested itself not only in the fictional aspect but first of all in the way film-specific instruments were used. 'White Threads of the Waterfall' (1933), 'The Downfall' (1935), 'The Field Poppy' (1935), 'Naniwa Elegy' (1936), 'Sisters of the Gion' (1936) and 'The Story of the Late Chrysanthemums' (1939) were some of the films made in this period. The author points out a few interrelated issues that were reflected in the subject of Mizoguchi's films: the picture of cultural and social changes stemming from modernisation, the attempt to show contradictions between tradition and modernity, and the reflection on the role and status of women in a patriarchal society, and consequently - his critique of the model. He also points to the relationship between Mizoguchi's auteur style and genre conventions as well as the narrative patterns used in the films. The author is interested in the influence of both traditional Japanese aesthetics and contemporary literary and theatrical pieces that are more or less successfully adapted for the screen.

4

Children of the apocalypse: The atom bomb trauma as a theme in Japanese Anime

80%

Kamrowska A.

Kwartalnik Filmowy

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2008

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nr 61

112-122

EN

The question of depiction of the explosion of the atom bomb in Hiroshima and Nagasaki is a part of a wider problem area of tragedies of such proportions that go beyond what is humanely possible to express. And yet the tragedy of the victims demands to be addressed and described. This is exactly what, many years after the end of the war, the Japanese anime artists are attempting to do. Within the genre of anime one can identify two main approaches to the nuclear attack. One of them, as portrayed in the graphic novel and later a film 'Barefoot Gen', is the report of a survivor - hibakusha - recalling his or her own experience and memories. The second approach to the trauma is to refer purely to the description of the tragedy. This approach is for example taken by authors born after 1945, who came to know of the tragedy solely through literature, documents and film. Their visions, contained in films such as 'Akira', 'Neon Genesis Evangelion', or the 'Wolf brigade', realistically demonstrate the moment of the explosions. By removing the historical background, the artists concentrate on the social and psychological impact of the tragedy, which to this day is present in the collective consciousness of the Japanese people.

5

ELEGY FOR CONTESTATION MOVEMENT IN THE 'IMAGES OF THE FLOATING WORLD' (Elegia dla ruchów kontestacyjnych w 'obrazach Przeplywajacego Swiata')

70%

Zajac B.

Kwartalnik Filmowy

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2009

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nr 65

197-208

EN

This essay discusses the aesthetic correspondences of Japanese new wave cinema with the iconography of premodern Japan, 'images of the floating world' (ukiyo-e), shunga pornography and kabuki theatre. Associations between ukiyo-e and new wave cinema are exemplified on one of the most significant movies of the decade, 'Buraikan' (1970) by Masahiro Shinoda. On the bases of aesthetical and narrative conjunction Shinoda recovers the cultural continuity, which seemed to be irretrievably ruptured as a result of the World War II and the nationalistic Japanese politics.

6

„ŠEDÉ DNI“ A IDENTITA V JAPONSKÝCH DENNÍKOVÝCH FILMOCH

51%

Králiková Hashimoto L.

Slovenské divadlo (Slovak Theatre)

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2021

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tom 69

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nr 2

144 – 156

EN

In the past quarter century, self-documentary films have formed a relatively easily distributable category in Japan. The genre is rooted in the diary films of the seventies, born in Japan under the influence of Jonas Mekas’s Reminiscences of a Journey to Lithuania (1972). This study explores the development of Japanese diary films in the context of research on the genre and looks for an answer to the question why diary films have received such attention from Japanese film makers. The author analyses the cultural and social background of film making with this ambition. Subsequently, she compares the thematic trends in Japanese diary films with Slovak ones, namely with the works of Mišo Suchý. She concludes that, contrary to Slovak diary films which often deal with the issue of national identity, Japanese diary films do not raise such questions.