- Taschenbuch: 317 Seiten
- Verlag: Univ of Minnesota Pr (15. Februar 2007)
- Sprache: Englisch
- ISBN-10: 0816649081
- ISBN-13: 978-0816649082
- Größe und/oder Gewicht: 25,1 x 17,5 x 2,3 cm
- Amazon Bestseller-Rang: Nr. 822.975 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Kurzbeschreibung
“Extraordinarily valuable, illuminating, and even entertaining, Forest of Pressure brims with the types of information that only a key insider can get his hands on.” —Mitsuhiro Yoshimoto, New York University
Ogawa Productions—known in Asia as Ogawa Pro—was an influential filmmaking collective that started in the 1960s under the direction of Ogawa Shinsuke (1936–1992). Between 1968 and the mid-1970s, Ogawa Pro electrified the Japanese student movement with its Sanrizuka documentary series—eight films chronicling the massive protests over the construction of the Narita airport—which has since become the standard against which documentaries are measured in Japan.
A critical biography of a collective, Forest of Pressure explores the emergence of socially committed documentary filmmaking in postwar Japan. Analyzing Ogawa Pro’s films and works by other Japanese filmmakers, Abé Mark Nornes addresses key issues in documentary theory and practice, including individual and collective cinema production modes and the relationship between subject and object. Benefiting from unprecedented access to Ogawa Pro’s archives and interviews with former members, Forest of Pressure is an innovative look at the fate of political filmmaking in the wake of the movement’s demise.
Abé Mark Nornes is associate professor of screen arts and cultures and Asian languages and cultures at the University of Michigan. He is a coordinator at the Yamagata International Documentary Film Festival and the author of Japanese Documentary Film: The Meiji Era through Hiroshima (Minnesota, 2003).
Synopsis
Nornes (screen arts and cultures and Asian languages and cultures, U. of Michigan) examines the work of Shinsuke and his collective Ogawa Productions, Ogawa Pro in Japanese, from 1957 to 2000. He details the many pressures that bore down on the collective; and the political, economic, aesthetic, institutional, and interpersonal conditions of their
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An important book
12. Juni 2008
Format:Taschenbuch
Not many people know about Japanese documentary. They know about fiction films like Kurosawa. But especially in the sixties, there was much influence between documentary and fiction films. Documentary filmmakers like Kuroki and Matsumoto made fiction films and fiction filmmakers like Oshima and Imamura made documentaries. You cannot understand postwar Japanese film without understanding documentary. Ogawa is maybe the most important Japanese documentary filmmaker along with Tsuchimoto. This book explains where Ogawa came from and analyzes his films. Since many of his movies were political, such as documentaries on the battle against the Narita Airport, this book also tells you a lot about postwar politics and society. Ogawa later went to a Yamagata farm to try to understand Japanese life that had been ignored by modernization. He lived and grew rice with the farmers for many years. He tried to see the truth not by standing far away and being *objective*, but by getting into the shoes of his subject. He also tested the boundary between fiction and documentary in late films. This is a powerful model for documentary that many can learn from.
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the author has no ability to interpret the films
26. Dezember 2007
Format:Gebundene Ausgabe
Abe Mark Nornes has no ability to read or interpret the productivity of the films.
All he can do is just read and quote files left by the dead Japanese documentary filmmaker with the help of his Japanese wife.
The resut is tremendously hideous.
It is not worthwhile to read this book.
Any film scholar-ciritics or film fans of Japanese films must not get any whorthwhile inspiration or information from the short book.
All he can do is just read and quote files left by the dead Japanese documentary filmmaker with the help of his Japanese wife.
The resut is tremendously hideous.
It is not worthwhile to read this book.
Any film scholar-ciritics or film fans of Japanese films must not get any whorthwhile inspiration or information from the short book.
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