Cine de Japón

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El Cine de Japón (映画; Eiga) tiene una historia que abarca más de 100 años.

[editar] Géneros

Anime: Animación. Anime es el término con el que se conoce a la animación japonesa en español.
Jidaigeki, son películas de época, cuyos protagonistas son típicamente samurais. También se las conoce como chambara, que es la onomatopeya del sonido de dos espadas chocando.
Cine de terror con películas como La llamada, este género es también conocido como J-Horror.
Cine de culto, por ejemplo Battle Royale ó Suicide Club.
Kaiju: Películas cuyo protagonista es un monstruo, tal como Godzilla.
Pink films, o cine pornográfico. A diferencia de la simple pornografía, el cine porno japonés por lo general incluye temas sociales y es estéticamente más cuidado.
Yakuza: Películas que tratan acerca de la mafia japonesa.

[editar] Historia

[editar] El cine mudo

La primer película cinematográfica producida en Japón fue el corto-documental Geisha no teodori (芸者の手踊り) en Junio de 1899.

La primer estrella del cine japonés fue Matsunosuke Onoe, un actor de kabuki que apareció en más de 1000 películas, sobre todo cortometrajes, entre 1909 y 1926. Él y el director Shozo Makino volvieron populares a las películas del género jidaigeki .<ref>Who's Who in Japanese Silent Films (html). Matsuda Film Productions. Consultado el 2007-01-05.</ref>

La primer actriz japonesa en aparecer profesionalmente en una película fue la bailarina y actriz Tokuko Nagai Takagi, quien apareció en cuatro cortometrajes de la norteamericana Thanhouser Company entre 1911 y 1914.<ref>Cohen, Aaron M.. Tokuko Nagai Takaki: Japan's First Film Actress (html). Bright Lights Film Journal 30 (October 2000). Consultado el 2007-01-05.</ref>

Algunos de los más comentados filmes mudos son los del realizador Kenji Mizoguchi, cuyas obras tardías, como Vida de O-Haru, mujer galante, de 1952, son aún muy apreciadas.

Durante el período mudo, la mayor parte de las salas de cine empleaban a benshis, narradores cuyas dramáticas lecturas acompañaban al filme y a su banda sonora, que al igual que en Occidente, era habitualmente tocada en vivo. <ref name="fn_1">Para más información sobre los benshi, ver los libros:</ref>

El Terremoto del Gran Kanto de 1923, los bombardeos aliados sobre Tokyo durante la Segunda Guerra Mundial, unidos a los efectos naturales del tiempo y la humedad sobre el entonces más frágil celuloide han contribuido a que subsistan muy pocos filmes de este período.

Un estudio del género gendaigeki - que trata acerca de dramas modernos ó contemporáneos- y de la escritura de guiones de cine en las décadas del 1910-20, puede encontrarse en "Writing in Light: The Silent Scenario and the Japanese Pure Film Movement" (Joanne Bernardi, Wayne State University Press, 2001). La obra incluye algunas traducciones de guiones completos.

[editar] La década de 1930

A diferencia de la producción de cine de Hollywood, durante la década de 1930 todavía se producían en Japón filmes mudos. Destacan en este período los filmes sonoros de Kenji Mizoguchi Las hermanas de Gion (Gion no shimai) de 1936, Elegía de Naniwa (Naniwa erejî) del mismo año y La historia del último crisantemo (Zangiku monogatari) de 1939. Éstas, junto con las películas de Sadao Yamanaka, Ninjo Kamifusen de 1937 y de Mikio Naruse Tsuma Yo Bara No Yoni de 1935, fueron las primeras películas japonesas en estrenarse en los EEUU. A pesar de esto, la presión de la censura se hizo sentir entre los directores con tendencias de izquierda como Daisuke Ito.

[editar] The 1940s

Akira Kurosawa made his feature film debut with Sugata Sanshiro in 1943. With the SCAP occupation following the end of WWII, Japan was exposed to over a decade's worth of American animation that had been banned under the war-time government.

[editar] The 1950s

The 1950s were the zenith of Japanese cinema, and three of its films (Rashomon, Seven Samurai, and Tokyo Story) made the Sight and Sound's 2002 Critics and Directors Poll for the best films of all time.<ref>http://www.bfi.org.uk/sightandsound/topten/poll/</ref> The decade started with Akira Kurosawa's Rashomon (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.<ref>Prince, Stephen (1999). The Warrior's Camera. Princeton University Press. ISBN 0-691-01046-3., p.127.</ref> 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 Seven 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.

Kon Ichikawa directed two anti-war dramas: The Burmese Harp (1956), and Fires On The Plain (1959), along with Enjo (1958), which was adapted from Yukio Mishima's novel Temple Of The Golden Pavilion.

Masaki Kobayashi made two of the three films which would collectively become known as the Human Condition Trilogy: No Greater Love (1958), and The Road To Eternity (1959). The trilogy was completed in 1961, with A Soldier's Prayer.

Kenji Mizoguchi directed The Life of Oharu (Saikaku Ichidai Onna, 1952), Ugetsu (Ugetsu Monogatari, 1953) and Sansho the Bailiff (Sansho Dayu, 1954). He won the Silver Bear at the Venice Film Festival for Ugetsu.

Mikio Naruse made Repast (1950), Late Chrysanthemums (1954), The Sound of the Mountain (1954) and Floating Clouds (1955).

Yasujiro Ozu directed Good Morning (Ohayō, 1959) and Floating Weeds (Ukikusa, 1958), which was adapted from his earlier silent Story Of Floating Weeds (1934), and was shot by Rashomon/Sansho the Bailiff cinematographer Kazuo Miyagawa.

[editar] The 1960s

Akira Kurosawa directed the 1961 classic Yojimbo, which is considered a huge influence on the Western. Yasujiro Ozu made his final film, An Autumn Afternoon, in 1962. Mikio Naruse directed the widescreen melodrama When A Woman Ascends The Stairs in 1960; his final film was Scattered Clouds, the second of two films he completed in 1967.

Technicolor arrived in Japan in the '60s. Kon Ichikawa captured the watershed 1964 Olympics in his three-hour documentary Tokyo Olympiad (Tōkyō Orimpikku; 1965). Seijun Suzuki was fired by Nikkatsu for "making films that don't make any sense and don't make any money" after his surrealist yakuza flick Branded to Kill (1967).

Osamu Tezuka's Tetsuwan Atomu introduced anime to television and gave the world Astro Boy in 1963.

Nagisa Oshima, Kaneto Shindo, Susumu Hani and Shohei Imamura emerged as major filmmakers during the decade. Oshima's Cruel Story Of Youth, Night And Fog In Japan and Death By Hanging became three of the better-known examples of Japanese New Wave filmmaking, alongside Shindo's Onibaba, Hani's She And He and Imamura's Insect Woman.

Hiroshi Teshigahara's Woman in the Dunes (1964) won the Special Jury Prize at the Cannes Film Festival, and was nominated for Best Director and Best Foreign Language Film Oscars. Masaki Kobayashi's Kwaidan (1965) also picked up the Special Jury Prize at Cannes.

[editar] The 1970s

Nagisa Oshima directed Ai no koriida (In the Realm of the Senses; 1976), a World War II period piece about Abe Sada. Staunchly anti-censorship, he insisted that the film would contain hardcore pornographic material; as a result the exposed film had to 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.

Yoji Yamada introduced the commercially successful Tora-San series, while also directing other films, notably the popular Yellow Hankerchiefs Of Happiness.

Kinji Fukasaku completed the epic Battles Without Honor And Humanity series of Yakuza films.

New wave filmmakers Susumu Hani and Shohei Imamura retreated to documentary work, though Imamura made a dramatic return to feature filmmaking with Vengeance Is Mine (Fukushu Suru Wa Ware Ni Ari, 1979).

[editar] The 1980s

Hayao Miyazaki adapted his manga Nausicaä of the Valley of Wind (Kaze no tani no Naushika) into a feature film (an anime of the same name) in 1984. Katsuhiro Otomo followed suit with his Akira in 1988. New anime movies were run every summer and winter with characters from popular TV anime. Shohei Imamura won the Golden Palm at Cannes for Narayama Bushiko (1983) (Ballad of Narayama; 1982).

Akira Kurosawa directed Kagemusha (1980) and Ran (1985). Likewise, Seijun Suzuki made a comeback, beginning with Zigeunerweisen in 1980.

Kiyoshi Kurosawa (no relation to Akira Kurosawa) debuted, initially with pink films and genre horror, though growing beyond this (and generating international attention) beginning in the mid 1990s.

[editar] The 1990s

Shohei Imamura again won 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.

Takeshi Kitano emerged 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.

Takashi Miike launched a prolific career, making up to 50 films in a decade, building up an impressive portfolio with titles such as, Audition (1999), Dead or Alive (1999) and The Bird People in China (1998).

Former documentary filmmaker Hirokazu Koreeda launched an acclaimed feature career with Maborosi (1996) and After Life (Wandafuru Raifu, 1999).

Hayao Miyazaki directed two mammoth box office and critical successes, Porco Rosso (1992) which beat E.T. (1982) as the highest-grossing film in Japan, and Princess Mononoke (1997) which also claimed the top box office spot until Titanic (1997) beat it.

[editar] 2000 and after

Battle Royale was released, based on a popular novel by the same name. It gained cult film status in Japan and in Britain. Hayao Miyazaki came out of retirement to direct Spirited Away (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 was released, followed by a high-budget remake, Zatoichi in 2003, both directed and written by Takeshi Kitano. The horror films Ringu and Ju-on: The Grudge were remade in English and met with commercial success. In 2004, Godzilla: Final Wars (Gojira: Fainaru Wōsu), directed by Ryuhei Kitamura, was released to celebrate the 50th anniversary of Godzilla. In 2005, director Seijun Suzuki made his 56th film, Princess Raccoon. Hirokazu Koreeda proclaimed film festival awards around the world with two of his films Distance and Nobody Knows.

[editar] Japanese films

List of Japanese films

[editar] Footnotes

Dym, Jeffrey A. (2003). Benshi, Japanese Silent Film Narrators, and Their Forgotten Narrative Art of Setsumei: A History of Japanese Silent Film Narration. Edwin Mellen Press. ISBN 0-7734-6648-7.(review) and

(2001) The Benshi-Japanese Silent Film Narrators. Tokyo: Urban Connections. ISBN 4-900849-51-0. [1])

[editar] References

Bowyer, Justin (2004). 24 Frames: The Cinema of Japan and Korea. Wallflower Press, London. ISBN 1-904764-11-8.

Mellen, Joan (1976). The Waves At Genji's Door: Japan Through Its Cinema. Pantheon, New York. ISBN 0-394-49799-6.

Prince, Stephen (1999). The Warrior's Camera. Princeton University Press. ISBN 0-691-01046-3.

Richie, Donald (2005). A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos. Kodansha America. ISBN 4-7700-2995-0.