日本电影
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日本电影 (日本语:映画; えいがEiga)一般然为日本电影开始于1896年，在神户的一家旅馆首次出现。有100年以上的历史。
[编辑] 作品
[编辑] 歷史[编辑] The Silent Era第一部日本出品的電影是1899年六月的一部小品的紀錄片Geisha No Teodori (芸者の手踊り)。 第一個出現在日本電影的演員是個舞蹈員和女演員Tokuko Nagai Takagi, who appeared in four shorts for the American-based Thanhouser Company between 1911 and 1914 (source). Most Japanese cinema theatres at the time employed benshi, narrators whose dramatic readings accompanied the film and its musical score which, like in the West, was often performed live. (See also the books Benshi, Japanese Silent Film Narrators, and their Forgotten Narrative Art of Setsumei A History of Japanese Silent Film Narration by Jeffrey A. Dym and The Benshi--Japanese Silent Film Narrators.) The 1923 earthquake, the Allied bombing of Tokyo during World War II, as well as the natural effects of time and Japan's humidity on the then more fragile filmstock have all resulted in a great dearth of surviving films from this period. Some of the most discussed silent films from Japan are those of Kenji Mizoguchi, whose later works (e.g., The Life of Oharu) are still highly regarded today. A study of the "gendaigeki" (contemporary/modern film drama) and writing for film in Japan in the 1910s to early 1920s, with select translations of scripts (complete as well as excerpts) is available in "Writing in Light: The Silent Scenario and the Japanese Pure Film Movement" (Joanne Bernardi, Wayne State University Press, 2001). [编辑] 1930年代Unlike Hollywood, silent films were still being produced in Japan well into the 1930s. Notable talkies of this period include 溝口健二's Sisters of the Gion (Gion no shimai, 1936), Osaka Elegy (Naniwa erejî, 1936) The Story of the Late Chrysanthemums (Zangiku monogatari, 1939). With increasing censorship, the left-leaning tendency films of directors such as Daisuke Ito come under attack. [编辑] 1940年代黑澤明 makes his feature film debut with Sugata Sanshiro in 1943. With the SCAP occupation following the end of WWII, Japan is exposed to over a decade's worth of American animation that had been banned under the war-time government. [编辑] 1950年代The 1950s were the zenith of Japanese cinema, and three of its films (Rashōmon, The Seven Samurai, and Tokyo Story) made the Sight and Sound's 2002 Critics and Directors Poll for the best films of all time.[1] The decade started with Akira Kurosawa's Rashōmon (1950), which won the Academy Award for Best Foreign Language Film and marked the entrance of Japanese cinema onto the world stage. It was also the breakout role for legendary star Toshiro Mifune.[2] 1952 and 1953 saw another Kurosawa film, Ikiru, as well as Yasujiro Ozu's Tokyo Story. The year 1954 saw two of Japan's most influential films released. The first was the Kurosawa epic The Seven Samurai (Shichinin no samurai), about a band of hired samurai who protect a helpless village from a rapacious gang of thieves, which was remade in the West as The Magnificent Seven. That same year Ishirō Honda released the anti-nuclear horror film Gojira, which was translated in the West as Godzilla. Though it was severely edited for its Western release, Godzilla became an international icon of Japan and spawned an entire industry of Kaiju films. In 1955, Hiroshi Inagaki won an Academy Award for Best Foreign Language Film for Part I of his Samurai Trilogy. 溝口健二 directs The Life of Oharu (Saikaku Ichidai Onna, 1952), Ugetsu (Ugetsu Monogatari, 1953) and Sansho the Bailiff (Sansho Dayu, 1954). Mikio Naruse directs Repast (1950), Late Chrysanthemums (1954) and Floating Clouds (1955). 小津安二郎 directs Good Morning (Ohayō, 1959). [编辑] The 1960sTechnicolor makes its mark. Kon Ichikawa captures the watershed 1964 Olympics in his three-hour documentary Tokyo Olympiad (Tōkyō Orimpikku; 1965). Nikkatsu fires Suzuki Seijun for "making films that don't make any sense and don't make any money" after his surrealist yakuza flick Branded to Kill (1967). 手塚治虫's Tetsuwan Atomu introduces anime to television and gives the world 铁臂阿童木 in 1963. 大島渚, Kaneto Shindo, and Shohei Imamura emerge as major filmmakers during the decade. Hiroshi Teshigahara's Woman in the Dunes (1964) takes the Special Jury Prize at the Cannes Film Festival, and is nominated for Best Director and Best Foreign Language Film Oscars. Masaki Kobayashi's Kwaidan (1965) also picks up the Special Jury Prize at Cannes. [编辑] 1970年代Nagisa Oshima directs Ai no koriida (In the Realm of the Senses; 1976), a World War I period piece about Abe Sada. Staunchly anti-censorship, he insists the film contain hardcore pornographic material; as a result the exposed film must be shipped to France for processing, and an uncut version of the film has still, to this day, never been shown in Japan. However, the pink film industry became the stepping stone for young independent filmmakers of Japan. [编辑] 1980年代宮崎駿 adapts his 漫画 風之谷 (Kaze no tani no Naushika) into a feature film (an anime of the same name) in 1984. Katsuhiro Otomo adapts his manga Akira into a feature-length anime in 1988. New anime movies are run every summer and winter with characters from popular TV anime. Shohei Imamura wins the Golden Palm at Cannes for Narayama Bushiko (1983) (Ballad of Narayama; 1982). [编辑] 1990年代今村昌平 again wins the Golden Palm (shared with Iranian director Abbas Kiarostami), this time for Unagi (The Eel; 1997), joining Alf Sjöberg, Francis Ford Coppola and Bille August as only the fourth two-time recipient. 北野武 emerges as a significant filmmaker with works such as Sonatine (1993), Kids Return (1996) and Hana-Bi (1997), which was given the Golden Lion at the Venice Film Festival. Not to forget, Takashi Miike makes up to 50 films in a decade, building up an impressive portfolio with titles such as, Audition (1999), Dead or Alive (1999) and Bird People of China (1998). Kiyoshi Kurosawa and Hirokazu Koreeda both launch acclaimed careers. [编辑] 2000後宮崎駿 comes out of retirement to direct 千与千寻 (Sen to Chihiro no Kamikakushi; 2001), breaking Japanese box office records and winning the U.S. Academy Award for Best Animated Feature. In 2002, Dolls is released, followed by a high-budget remake, Zatoichi in 2003, both directed and written by 北野武. The horror films Ringu and Ju-on: The Grudge are remade in English and met with commercial success. In 2005, director Seijun Suzuki made his 56th film, Princess Raccoon. Hirokazu Koreeda proclaims film festival awards around the world with two of his films Distance and Nobody Knows. [编辑] 注解
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