Films will be explored with reference to their socio-political contexts and students will be encouraged to engage with theories of spectatorship, narrative style, aesthetics and wider debates on issues such as representations of gender, sexuality, class and ethnicity. Areas of study are expected to include 1920s French avant-garde cinema, Poetic Realist cinema, New Wave cinema, women’s filmmaking, the cinéma du look and banlieue/ beur films. A broad range of cinematic approaches, concepts and critical perspectives will be explored through the study of set films and theoretical texts. This unit will introduce students to different periods, genres and styles of French cinema, beginning in the 1920s and moving through to the present. Please see the current academic year for up to date information. Yet the access to prosperity at the turn of the 1960s, as celebrated by 1964 Tokyo Olympic Games, seems to dissipate such feelings, leading the young generation of filmmakers toward other aesthetic options, able to give an account of the new society of mass consumption.Please note: you are viewing unit and programme informationįor a past academic year. Such a transition is obvious when compared to postwar films: for instance, Imai, Naruse or Kurosawa develop specific aesthetic patterns what draw a world of entropy, undermined by anguish. Indeed, for the likes of Oshima Nagisa, Yoshida Kijû and Matsumoto Toshio, that renewal relies on the contrary on a new definition of filmmaking as a way to “enact” the world: thus would it rather be a matter of weltanschauung. Yet that new and boisterous youth shall not be considered as a mere demographic change, whatever may pretend filmmakers such as Nakahira Kô and other upholders of the so-called “Taiyôzoku” at the end of the 1950s. It is time for sexual freedom, political protests, civil movements against industrial pollution: a climate suitable for audacity and bold behaviors one can notice thoughout the cinematographic world, thanks to various “scandals”. The platforms of movie production diversify, while the great studios lose their domination upon the leisure industry. A new generation of filmmakers arises, marking its difference from the so-called “great masters” of the 1930s and 1950s. In the Leaves of the World - Japanese Filmmakers and the High Growth Era The years 1960s stand as a time of upheaval in the history of Japanese cinema. The film series was also supported by the Yale Film Studies Center and Films at the Whitney. The publication was produced by the graduate students in the Department of East Asian Languages and Literatures and the Film and Media Studies Program at Yale under the supervision of Professor Aaron Gerow (East Asian Languages and Literatures Film and Media Studies), and provides a detailed and enlightening introduction to this important genre of Japanese cinema. In conjunction with the series, the Council on East Asian Studies at Yale University printed a pamphlet that features introductions to each of the ten films shown, as well as critical overviews of the genre penned by and Yomota Inuhiko (Kyoto University of Art and Design), Ōsawa Jō (The National Film Center, Tokyo) and Phil Kaffen (New York University). All films were screened in 35mm with English subtitles. The series concluded with a symposium featuring an international panel of experts on Japanese crime film, and a world premiere screening of a newly struck English subtitled print of the classic gangster melodrama, Chutaro of Banba. The film series, which took place over a period of four weeks in January and February 2015, presented some of the masterworks of Japanese gangster film, detective cinema, and Japanese noir, in subtitled archive prints that have rarely been seen abroad. Surprisingly, little of this rich lode of cinema has been introduced abroad. Cinematic representations of crime have served in Japan to draw the boundaries of society and the nation, define the nature of reason and epistemology, shape subjectivity and gender, explore the transformations of modernity, and even express the desire for political transformation. Chivalric yakuza, modern mobsters, knife-wielding molls, hardboiled gumshoes, samurai detectives, femme fatales, and private eyes populate Japanese cinema, from period films to contemporary dramas, from genre cinema to art film, from the work of genre auteurs like Makino Masahiro to masters like Kurosawa Akira. Ever since the success of the French crime film Zigomar in 1911, the Japanese film industry has produced numerous movies depicting criminals and the detectives who try to apprehend them. “Lone Wolves and Stray Dogs: The Japanese Crime Film, 1931–1969” is a continuing collaboration between the Council on East Asian Studies at Yale University and the National Film Center of the National Museum of Modern Art, Tokyo.
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