The Japanese Period Film: A Critical Analysis
This study examines the history of the Japanese period film and proposes that a powerful relationship exists between the past and present in Japan's narrative tradition. The first section of the book analyzes the form and function of the Japanese period film, describing the unique iconography and characteristics of films set in the past. The author also examines how the period film has allowed Japanese filmmakers to circumvent government censorship by serving as a rhetorical device with which they can explore contemporary concerns through a criticism of the past. The final section of the book contains chapters that focus on the narrative in Japanese epic, religion, theater, and modern popular literature. A complete filmography and bibliography are included.
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actors angry spirit anti-hero Atsumori audience battle Buddhist bungaku bushi Ch¨ji Ch¨shingura Chikamatsu Confucian contemporary Daiei death di›erent e›ect epic example fight function gekijö genre gunki monogatari Heike monogatari Hideyoshi Hishakaku historical human Ichikawa Utaemon iconography Inagaki Hiroshi ItÉ Ito Daisuke Iwanami Japan Japanese cinema Japanese film Japanese period film jidai-geki Jinsei JirÉchÉ Kabuki Kakuichi KÉdan KÉnodai killed Kunisada Kurosawa Akira Kyoto Kyoto Studio lord Makino Masahiro matatabi-mono Meiji period Meitokuki Mizoguchi Kenji modern mono MunezÉ Nakazato Naozane narrative nenbutsu Nihon Nikkatsu ninja o›ered o‡cials one’s oral performance period film period piece Productions Pure Land realism religious role ronin Ry¨nosuke Sawada Seibei Seven Samurai Shimizu Shochiku shogun shot social society Soga stage story su›ering suicide sword Taiheiki Taira theater Töhö Tokugawa period Tokyo Toyotomi Hideyoshi traditional tragic hero Twilight Samurai type scene vassals western wife women yakuza Yamada Yamamoto Yamanaka Sadao ykÉchi Yogo Zenshinza Zoku