The Film Sufi: “Ugetsu” - Kenji Mizoguchi (1953).
Summary: In war-torn sixteenth century Japan, a potter and a farmer leave their respective wives, one to become a great artist as a ghost prophesies, the other to realise his dream of becoming a.
Mizoguchi's Ugetsu Monogatari (Tales of the Rain and Moon) is a highly acclaimed masterwork of Japanese cinema. Based on a pair of 18th century ghost stories by Ueda Akinari, the film's release continued Mizoguchi's introduction to the West, where it was nominated for an Oscar (for Best Costume Design) and won the the Venice Film Festival Silver Lion award (for Best Direction).
Ugetsu Monogatari. Film. Time Out says. Mizoguchi's best-known work, based on two stories by the 18th century writer Akinari Ueda (often described as the Japanese Maupassant), was one of a handful.
Engl 222 Critical Analysis Essay (with minimum one page or more draft, including provisional 'thesis' (sentence or sentences) due for peer editing in class on Thursday April 26, then send a follow up draft of your first page or so, to me by email, preferably by 5pm Friday or on Saturday--the final completed hard copy of the essay is due in my Brink 200 mailbox by the start of class on Tuesday.
In this essay I intend to prove that a foreknowledge of Japan’s social, cultural and historical background is a necessity in order to “properly” appreciate Japanese Cinema.With reference to films such as Ugetsu Monogatari and Tokyo Story, my aim is to use my illustrative examples, analysis and references to scholarly sources to clearly show that in order to “properly” understand.
Film analysis and criticism found a completely new and innovative path with the arrival of the video essay, a relatively recent form that already has its own masters and is becoming increasingly popular. The limits of this discipline are constantly expanding; new essayists are finding innovative ways to study the history of cinema working with images. With this non-competitive section of the.
Kinugasa Teinosuke filmed a Sumako biography at the same time (Actress, 1947) and filled it with close-ups, but most scenes in The Love of the Actress Sumako consist of distant framings, often in chiaroscuro.In one daring shot, as Shimamura walks out on his wife and mother, his departure is barely visible in a slot just above the heads of the two weeping women (Fig. 3A.7).