For those of you who want to get a taste, (and a heavy taste it is) of Japanese Film in the past 100 years, I can think of no better introduction than Donald Richie’s A Hundred Years Of Japanese Film. But be warned, this is not light bed- time reading.

The best way to describe this very informative history is that it is dense. It is not “all” fact, there is considerable discussion. However, a lot of material is packed into a small amount of space. And while I have no reason to doubt this eminent critics “take” on Japanese film, few of the early films are available anywhere , even in Japan, for viewing. There are fewer still here in the United States. And like all history interpreted by a human being, it is subject to the well- meaning, even well informed, but still completely subjective point of view of the author.


I chose this book from among others, because I have listened to Richie’s informative feature length commentaries on a few Kurosawa films. Donald Ritchie’s well of knowledge on the subject is a deep one.

Donald Ritchie came to Japan as a staff writer for Stars and Stripes in 1947. He began reviewing Japanese film as a critic, and by 1959 he had co-authored The Japanese Film: Art and Industry with Joseph Anderson. He wrote Japanese Cinema: Film Style and National Character , in 1971. In 1990 he authored Japanese Cinema: An Introduction. In this book, he not only builds on his previous work, but he takes a critical look at is own assumptions, and comes to the table with fresh insights. So, he personally has rewritten Japanese film history three times, and each of these approaches was unique.

WHAT IS INCLUDED-

The actual book really does cover every evolutionary event of Japanese film in the last hundred years, and offers some insight on the directors and studios as well. The first part of the book is written in 5 chapters. The second part lists the films and gives synopses for the interested reader, as well as a listing of Japanese sources for the material. There is also a glossary of terms (something I find extremely useful) and a comprehensive bibliography.

STYLE and (my) PROBLEMS

Richie does not offer easy reading, although neither is it abstruse. The “concise” part of the title really refers to subjects that are given the barest amount of description-which would work for you if you already HAD some knowledge of Japanese film. I would probably look elsewhere for a textbook source, if teaching a class, for example.

The biggest problem for me, as a Westerner only superficially aware of the contributions of Japanese film-makers, is that I stumble over practically every Japanese name and genre specific to Japanese film . A week after I finished the book, I am still going back to re-read it for clarification, and edification, as some of these facts sink in. . I know for darned sure I am not going to be able to remember ALL those names!. My suggestion to anyone wanting to read this book is to read only small parts of it at a time, and check the references. If possible, see a film that is available from that period. It will bring a better understanding. If you rush from chapter to chapter it will be nothing more than a name dropping recital of facts-and not worth wasting your time. The book does make you want to expand your knowledge with a more in depth analysis. The scope of the comprehensive history is large in scale. To go into depth, you will need to check other sources.

THE FILM HISTORY SECTION

Chapter I

-Beginnings and the Benshi (introduced and narrated silent films in Japan, instead of flashing written narrative to break up the flow of the film)
-Film theater and actors
-Realism and Reality
-Western Influences
-Shingeki (“New theater” as in western theater) and the New Narrative tactics

This chapiter introduces us to Japanese film in its beginnings. Film was discovered first in the West. The filming techniques, part of the entire industry in its infancy, underwent rapid growth, and much experimentation. Western film differs from early Japanese film more in its approach, and what was deemed fit subjects for film. Japanese aesthetics generally,and traditional formal theater specifically ,were among the earliest and strongest influences.

Chapter II

-Taisho Democracy and Shochiku
-The new Gengaideki (refers to films about contemporary life)
-The new Jidaigeki-(refers to historical films in general.-mainly of the Edo Period 1600-1687)
-Nikkatsu and the shimpa, (intermediate art form, from theater to film, specifically a new form of kabuki theater)
-Expressionism , Kinusaga Teinosuke and the leftist film.
-Criticism and crackdown, World War II.

As Japanese film became refined into an art form with its own particular culture and tradition, Directors and studios began to specialize in different (and identifiable) types of film, with different target audiences, and in fact entirely different philosophical and political outlooks. German expressionism impacted here as it did in Western film, but interestingly, leftist political, (from The Soviet Union) was what the Japanese film makers meant by expressionism, Eisenstein was a more of an influence than Fritz Lang for example , before the War.

As politics became fascist, German propaganda films started having greater impact, and National Pride , and ethnic purity were issues in Japan ‘s fascism as well as in Germany's. Certain film makers, when asked to do a propaganda film, simply made films their own way, using a soldier’s life as the subject matter. One film maker failed to understand why his film wasn’t acceptable. He showed the soldiers not in the glory of war, but in the every day boredom , as a dreary mundane existence, with no heroics. He showed it as a job, and little National Pride or enthusiasm was generated.

Many directors simply refused to make propaganda films, and they were put in jail. (The really radical films showed the plight of workers under the yoke of greedy big business. -mostly before the War) The film industry pretty much shut down conventional films during War, being unable to obtain funds to operate.

Chapter III

-The Occupation of Japan
- Postwar developments
-Ozu and Naruse
-Mizoguchi and the Period Film
-New Means: Jun- bungaku, (literature, as opposed popular reading) Comedy and social issues.

This chapter deals with the films made during the American occupation of Japan, which lasted until 1960. New genres , including comedies, and more social daily life issues became standard fare. Among the things early postwar Japan was dealing with was a deep resentment of the occupying force, although films openly criticizing were censored , changed or barred from release. Certainly in this period, Japanese film was affected most strongly by Western films, and a strong movement to protect the “japan-ness” of the art form came into being. Directors who had too much Western film leanings were severely criticized.

Chapter IV

- The Advent of Television, and the films defenses: Suzuko, Nakahira, Kawashima, and Imamura
-The Early independents: Hani and Teshigahara
-The “New Wave”: Oshima, Yoshida and Shinoda

This tells the story of the industry changing to bring in theater revenues, although television largely displaced the movie theater in Japan, as in elsewhere. Up until this time, though, films were produced by the BIG STUDIOS. The Independent film makers with new freedom after the Americans withdrew, became a new and potent force in Japan. Some interesting experimental work was contributed.

New Wave Cinema changed the film industry in bringing about dark nihilistic stories, violence and youthful rebellion as thematic material. The era of the Big Studio was pretty much gone. Some old companies became occupied with making soft porn for distribution directly to video, to keep afloat.


Chapter V

-Making audiences
-The New Independents
-Documentary and Anime
-Conclusion

This chapter will bring us pretty much flush with the present. I am sure Donald Richie is still the “one” critic to ask for any important new developments.


FINAL SUMMARY


This book is a fascinating thorough introduction to Japanese Film. It leads me to believe that I still have a lot yet to learn, and lots of movies to watch. Japanese film is fascinating stuff, as culturally specific to the people of Japan as a national cuisine. I grew up on the cheap Godzilla flicks, never realizing that the Film Industry in Japan offered something much better. My only problem, in addition to the fact that Japanese movies so seldom get released here, (and this is continuing) is learning to speak Japanese. I guess subtitles will have to do for now!

RECOMMENDATION-

Anyone who is interested in Cinema in Japan would find this book a helpful guide. I definitely recommend it, especially if your level of concentration remains high . For others it is still an outstanding reference.-and it can spotlight movies you might want to make a point to see in the future.


isbn 4-7700-2682-X

Richie, Donald, One Hundred Years of Japanese Film, A Concise History, with a Selective Guide to Videos and DVDs, Kodansha International, 2001



Recommended: Yes