Catalogue to accompany David Johnson's exhibition Navefrom 20 November to 10 December 2005, curated by Keiko Shibata at Dilston Grove (Clare College Mission Church) in Southwark.
Reading a Japanese Film, written by a pioneer of Japanese film studies in the United States, provides viewers new to Japanese cinema with the necessary tools to construct a deeper understanding of some of the most critically acclaimed and thoroughly entertaining films ever made. In her introduction, Keiko McDonald presents a historical overview and outlines a unified approach to film analysis. Sixteen "readings" of films currently available on DVD with English subtitles put theory into practice as she considers a wide range of work, from familiar classics by Ozu and Kurosawa to the films of a younger generation of directors.
Of all the world s cinemas, Japan's is perhaps unique in its closeness to the nation's literature, past and contemporary. The Western world became aware of this when Akira Kurosawa's Rashomon was awarded the Grand Prize at the Venice film festival in 1951 and the Oscar for best foreign film in 1952. More recent examples include Shohei Imamura's Eel, which won the Palm d'Or (Best Picture) at Cannes in 1997.From Book to Screen breaks new ground by exploring important connections between Japan's modern literary tradition and its national cinema. The first part offers an historical and cultural overview of the working relationship that developed between pure literature and film. It deals with three important periods in which filmmakers relied most heavily on literary works for enriching and developing cinematic art. The second part provides detailed analyses of a dozen literary works and their screen adoptions.
Noh, Kabuki, and Bunraku are the three distinct genres of classical theater that have made Japan's dramatic art unique. The audience steeped in these traditional theatrical forms sees many aspects of stage conventions in Japanese cinema. This intimacy makes the aesthetic/intellectual experience of films more enriching. Japanese Classical Theater in Films aims at heightening such awareness in the West, the awareness of the influence that these three major dramatic genres have had on Japan's cinematic tradition. Using an eclectic critical framework - a solid combination of historical and cultural approaches reinforced with formalist and auteurist perspectives - Keiko I. McDonald undertakes this much needed, ambitious task.
When a 21-year-old medical student from Melbourne, Harold S. Williams, arrived in Japan in 1919 to practice the language over his summer holiday, he never imagined his stay would eventually extend over 60 years. He took up a job with a Scottish trading firm in the cosmopolitan port city of Kobe, but his lifelong passion became collecting records documenting the lives of foreign residents. They are now held at the National Library of Australia as a highly sought-after collection. Keiko Tamura constructs a vivid account of the experience of Williams and three other Westerners, presenting a compelling picture of expatriate experiences and life in Japan in the first half of the twentieth century. Against the backdrop of dramatic social and cultural change, Forever Foreign: Expatriate Lives in Historical Kobe provides a valuable insight into the varying influence of Western residents in Japan. Foreshadowing the irrevocable changes to a unique way of life that was brought by World War II, Tamura pays moving tribute to individuals who, either through a sense of adventure or by the forces of circumstance, lived their lives in a foreign culture.
Catalogue to accompany David Johnson's exhibition Navefrom 20 November to 10 December 2005, curated by Keiko Shibata at Dilston Grove (Clare College Mission Church) in Southwark.
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