TuskCracker
後輩
- 17 Jan 2004
- 531
- 14
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Can we add more, with movies.
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V
1990'
->Rokuro Mochizuki
->Takeshi Kitano
-> Takashi Miike
-> Kiyoshi Kurosawa
->Takashi Ishii
For much of the 1990s, Rokuro Mochizuki was at the forefront of Japanese cinema, one of the leading lights of an emerging new generation tirelessly rejuvenating the moribund industry. Alongside Takeshi Kitano, Takashi Miike, Kiyoshi Kurosawa and Takashi Ishii, he was one of those who reinvented genre cinema from within, largely thanks to the abundance of such projects offered by the V-cinema industry. During this decade Mochizuki gave us a rich handful of vivacious and inventive films that have come to be emblematic of the period: the self-reflective meta-porno Skinless Night (1990), the chilling midlife gangland crisis tale Another Lonely Hitman (1995), the jawdropping metaphysical cop story The Outer Way (1998) and one of the downright best films of the 1990s, The Fire Within (1997). Yet, it has taken the rest of the world almost ten years to properly get wind of him. While his career back home has been flailing since the dawn of the new millennium, outside Japan Rokuro Mochizuki is only just taking off, thanks to a wave of DVD releases of his best work.
1960's Pink Films
Pink Film, a term used to denote the genre of low-budget, independently-produced softcore sex films in Japan that first began to spill over into the mainstream during 1964
->Tetsuji TAKECHI
-> Koji Wakamatsu
-> Satoru Kobayashi
Tetsuji TAKECHI is somewhat of an enigma to those of us trying to make sense of the wild and wonderful world of Japanese cinematic history. Primarily a theatre director who in the 50s successfully staged a number of plays described as ﾂ"experimental Kabukiﾂ" (amongst them, the Mishima-penned The Damask Drum), he is also celebrated as one of the founding fathers, alongside Koji Wakamatsu and Satoru Kobayashi, of what is known as the pink film, a term used to denote the genre of low-budget, independently-produced softcore sex films in Japan that first began to spill over into the mainstream during 1964, the year of the Tokyo Olympics.
1920's Silent Films
More information on japanese silent film
-->Teinosuke Kinugasa's
-->Kenji Mizoguchi
-->Yasujiro Ozu
-->Sadao Yamanaka
During the 1920s, Teinosuke Kinugasa's startlingly modern experimental movies infused Japanese film with a sophistication that rivalled the best European art films. His innovations, along with those of Kenji Mizoguchi, Yasujiro Ozu, and Sadao Yamanaka, helped Japanese cinema develop a distinct cinematic voice.
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Can we add more, with movies.
|
|
V
1990'
->Rokuro Mochizuki
->Takeshi Kitano
-> Takashi Miike
-> Kiyoshi Kurosawa
->Takashi Ishii
For much of the 1990s, Rokuro Mochizuki was at the forefront of Japanese cinema, one of the leading lights of an emerging new generation tirelessly rejuvenating the moribund industry. Alongside Takeshi Kitano, Takashi Miike, Kiyoshi Kurosawa and Takashi Ishii, he was one of those who reinvented genre cinema from within, largely thanks to the abundance of such projects offered by the V-cinema industry. During this decade Mochizuki gave us a rich handful of vivacious and inventive films that have come to be emblematic of the period: the self-reflective meta-porno Skinless Night (1990), the chilling midlife gangland crisis tale Another Lonely Hitman (1995), the jawdropping metaphysical cop story The Outer Way (1998) and one of the downright best films of the 1990s, The Fire Within (1997). Yet, it has taken the rest of the world almost ten years to properly get wind of him. While his career back home has been flailing since the dawn of the new millennium, outside Japan Rokuro Mochizuki is only just taking off, thanks to a wave of DVD releases of his best work.
1960's Pink Films
Pink Film, a term used to denote the genre of low-budget, independently-produced softcore sex films in Japan that first began to spill over into the mainstream during 1964
->Tetsuji TAKECHI
-> Koji Wakamatsu
-> Satoru Kobayashi
Tetsuji TAKECHI is somewhat of an enigma to those of us trying to make sense of the wild and wonderful world of Japanese cinematic history. Primarily a theatre director who in the 50s successfully staged a number of plays described as ﾂ"experimental Kabukiﾂ" (amongst them, the Mishima-penned The Damask Drum), he is also celebrated as one of the founding fathers, alongside Koji Wakamatsu and Satoru Kobayashi, of what is known as the pink film, a term used to denote the genre of low-budget, independently-produced softcore sex films in Japan that first began to spill over into the mainstream during 1964, the year of the Tokyo Olympics.
1920's Silent Films
More information on japanese silent film
-->Teinosuke Kinugasa's
-->Kenji Mizoguchi
-->Yasujiro Ozu
-->Sadao Yamanaka
During the 1920s, Teinosuke Kinugasa's startlingly modern experimental movies infused Japanese film with a sophistication that rivalled the best European art films. His innovations, along with those of Kenji Mizoguchi, Yasujiro Ozu, and Sadao Yamanaka, helped Japanese cinema develop a distinct cinematic voice.
). I'll amend this if I see more reason to believe he is eccentric (or not).
if there is any☝
