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Shohei Imamura

Author: James Quandt (ed.) Publisher: Toronto International Film Festival Group, Toronto, 1997 Collection: - Pages: 192 Size: 15 x 21 Price: - Lingua: Inglese

Indice : Pigs, Pimps and Pornographers: A brief Introduction to the Films of Shohei Imamura, J. in Quandt Notes for a Study on Shohei Imamura, in D. Richie hohei Imamura S: Modern Japan Entomologist, in M. Tessier Shohei Imamura Interview, in M. Tessier, A. Bock e I. Buruma The Last Rising Sun , in D. Kehr Images of Irrationality in Modern Japan: The Films of Shohei Imamura, in A. Casebier Shohei Imamura: Human, all too human, in G. Laprévotte Shohei Imamura Interview, in T. Nakata My approach to filmmaking, in S. Imamura Traditions and influences, in S. Imamura The Sun Legend of a country boy, in S. Imamura My teacher, in S. Imamura Shohei Imamura : No confucianist, in A. Bock The Profound Desire of Gods: murder of the pink pig, in A. de Baecque The Ballad of Narayama: Ascent to the Beyond, in Y. Lardeau The Ballad of Narayama: Pigs and Gods, in C. Tesson Erasing and refocusing: Two Films of the Occupation, L. Ehrlich Unagi: Of Eels and Men, M. Tessier Shohei Imamura Filmography

Released on the occasion of a retrospective Shohei Imamura (1926-2006), the book in question traces its career from the beginning, "the court" Ozu's up to the Palme d'Or obtained in 1983 with The Ballad of Narayama . However, the schizophrenia of a split between volume monograph ("one author writes about a topic") and critical anthology "polyphonic" disturbs the linearity of the criterion of chronological order chosen by curator James Quandt, since the majority of interventions consists of a total budget of the work of Imamura, the reader will in fact caught in a recursive structure whose repetitive (often-content-theme) inevitably complicate the use of the book . On the other hand, the grueling "eternal return" of the discourse on post-war decades is well suited obsessive use of flashback to the base of films like Entomological Chronicles of Japan (1963), making a coherent essay " messy messy book about movies. " In this view, many points of interest are revealed. Among them I found particularly stimulating and worthy of further study of the Japanese director's will to free his films since "teaching intellectual" of Ozu, the 1926 class filmmaker considered a "construction" Western (See Transcendental Style in Film by Paul Schrader ) not to be confused with the movie (and "soul"), Japan tout court. Michael Guarneri