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  1. Ozu and the Poetics of Cinema ; with a new introduction by the author


    URL/Identifizierer https://www.cjspubs.lsa.umich.edu/electronic/michclassics/online/books/ozu.php
    QuellenartElektronische Volltexte & Multimedia>>Selbständige Veröffentlichungen>>
    UrheberBordwell, David
    Veröffentlichungsdatum1988
    Schlagworte FWFilmgeschichtsschreibung; Regisseur
    Beschreibung "There he was, large as life, if not as lively. Ozu sat cross-legged, bent toward his camera and studying the final shot of Chishu Ryu in Tokyo Story. The Mitchell camera was real, as was the low-level tripod, and he had his trusty cigarettes in easy reach. But he, like Ryu, was only an effigy in a theme park. He was the first waxworks film director I’d ever seen. In fall of 1995, while visiting Tokyo to do research, I took the train out to the suburb of Kamakura. It was Ozu’s home for many years, but it was also the site of the Ôfuna studio of the powerful Shochiku motion picture company. Shochiku had recently turned part of its grounds into a theme park devoted to movies. Inside, there were several “zones,” mall-like areas consisting of shops and snack bars. An air of vacuous opportunism hung over the place. The American zone contained a CNN store and a scaled-down drive-in, with several convertibles sunk into the concrete floor and pointed toward a video screen. The Japanese zone consisted of a replica of Tora-san’s neighborhood, some sets for swordplay films, and a large room devoted to Ozu. Photos from all his films decorated the walls, and at one end was the display that I couldn’t leave alone. On the left was a replica of his study, with pipes and sake bottles carefully arrayed on his work table. On the right, there was the tableau of him directing Ryu. Shochiku had fallen on hard times. Attendance had slumped, the studio had missed the anime boom, and its characteristically old-fashioned films hadn’t found acceptance. Unlike Toho, which had an endlessly marketable commodity in Godzilla, Shochiku held a library of little appeal to modern taste. Its only branded items were Tora-San and Ozu, both sustained chiefly through nostalgia. Hence the company’s desperate effort to exploit this director, whose films were unknown to most young people, came off as simply embarrassing. The effigy didn’t even look much like him. Kamakura Cinema World, as the place was called, closed in 1998 after only three years of operation. Shochiku continued to lose out at the box office to thrusting companies tied to TV, advertising agencies, and other conglomerates. Today it’s but a shadow of the mighty firm that had ruled local film in the 1930s and 1940s. I still think of that theme-park exhibition whenever I turn back to Ozu and the Poetics of Cinema. I think about the fragility of tradition, the confusions and miscalculations of the film business, and the fact that even through hucksterism Ozu retains a place in the wildly unpredictable popular culture of Japan. I’m sure the exhibition would have given him a good laugh." (Information des Anbieters)
    Themen FWFilm>>Biographie, Filmgeschichte; Film>>Inszenierung und Regie
    RVK FWAP 44963; AP 51260
    DDC FWPhilosophie, Theorie, Ästhetik; Historische, geografische, personenbezogene Behandlung; Personen
    geographischer BezugAsien Orient Ferner Osten>>Japan>>
    zeitlicher Bezug20. Jahrhundert, 1900 – 1999>>
    SpracheEnglisch