Japanese Film in Extended Sixties

In 1959 Jean-Luc Godard released his debut feature length film A bout de soufflé, Breathless, and thereby created the film that would open a new type of filmmaking consisting of jump shots and filmed with handheld cameras. However, the true impact of French New Wave cinema was a new type of protagonist one who was "alienated, disaffected, violent, a product of media (especially cinema), this new hero was an accurate harbinger of the youthful rebellions and protests that rocked France and the Western world a little later, in the `60s" (Desser, p.1). During this same year Oshima Nagisa released his debut film Ai to kibo no machi, A Town of Love and Hope which began a new wave of cinema in Japan as well. However, while the French New Wave cinema came under close scrutiny from Western critics and film scholars, Japanese New Wave Cinema as a whole, at least in 1988 when this book was published, had received little attention from both Western and Japanese scholars. Individual directors such as Oshima Nagisa, Imamura Shohei, and Shinoda Masahiro had received some attention, but a study of Japanese New Wave cinema and its relation to the culture and history of 1960s had yet to be made, however, with this book Desser hopes to fill this gap.\n\nThe subjects covered in Eros Plus Massacre, the title take from a 1969 Yoshida Yoshishinge film of the same name, concern a number of subjects that are important to Japanese New Wave Cinema: politics, youth, identity and its relationship with sexuality, women, minority groups, and other issues specifically related to film such as cinematic time versus real time. Each chapter generally begins with a summation of the history of the time period and then how filmmakers responded to these given situations. Such as in the first chapter "Night and Fog in Japan: Ideology and Narrativity" in which Desser gives a brief albeit detailed history of the period for example the controversy of the resigning of the Japan-U.S. Mutual Security Pact. Afte

=/ ik hoopte die beschrijving collapsable te maken door het tot een comment te maken...

Kaidan (怪談) (sometimes transliterated kwaidan) is a Japanese word consisting of two kanji: 怪 (kai) meaning "strange, mysterious, rare or bewitching apparition" and 談 (dan) meaning "talk" or "recited narrative." In its broadest sense, kaidan refers to any ghost or horror story, but it has an old-fashioned ring to it that carries the connotation of Edo period Japanese folktales.

Ugetsu (雨月物語, Ugetsu monogatari?) ('Tales of Moonlight and Rain' or 'Tales Of The Pale And Silvery Moon After The Rain') is a 1953 film by Japanese director Kenji Mizoguchi. The film, set in Medieval Japan, stars Masayuki Mori and Machiko Kyō, and is inspired by stories by Ueda Akinari and Guy de Maupassant. It is Mizoguchi's most celebrated film, regarded by critics as a seminal masterwork of Japanese cinema.

Eirin (映倫, Eirin?) is the abbreviated name for Eiga Rinri Kanri Iinkai (映画倫理管理委員会, Eiga Rinri Kanri Iinkai ?), Japan's movie regulator.

Pink film (ピンク映画, Pinku eiga?) is a style of Japanese softcore pornographic theatrical film. Films of this genre first appeared in the early 1960s, and dominated the Japanese domestic cinema from the mid-1960s through the mid-1980s.[1][2] In the 1960s, the pink films were largely the product of small, independent studios. In the 1970s, some of Japan's major studios, facing the loss of their theatrical audience, took over the pink film. With their access to higher production-values and talent, some of these films became critical and popular successes.[3] Though the appearance of the AV (adult video) took away most of the pink film audience in the 1980s, films in this genre are still being produced.

formerly Daiei Motion Picture Company

Ugetsu Monogatari (1953) - Dir: Kenji Mizoguchi. Jigoku (1960) - Dir: Nobuo Nakagawa

Godzilla has reigned supreme as "King of the Monsters" for 50 years now. (kranten-artikel San Francisco Chronicle)

Kaiju eiga in de scifi-encyclopedie

Confessions of a Cinephile. Cinebeats chronicles one woman's love affair with '60s & '70s era cinema. Or as she likes to call it, cinema's Platinum Age!

"Confessions of a Cinephile. Cinebeats chronicles one woman's love affair with '60s & '70s era cinema. Or as she likes to call it, cinema's Platinum Age!" Misschien handig overzicht van Asian Trash Cinema /Asian Cult Cinema in die tijd, grappige foto's alvast. ^_^