The Aesthetics of Shadow: Lighting and Japanese Cinema
Shi, fifty one. Kotani's motion pictures made at Shimokamo integrated Yui Shosetsu (1924), photographed through Kotani; secret agent of affection (Koi no misshi, 1924), directed and photographed by means of Kotani; Black Monk (Kurohoshi, 1924), directed by way of Kotani; Plover Sings at evening (Chidori naku yoru, 1924), directed through Kotani; Cherry Blossoms (Tei no sakura, 1924), directed by way of Kotani; A mystery Comes round (Meguru himitsu, 1924), directed via Kotani; and send of the town (Miyako no fune, 1924), directed via Kotani. 23. Taguchi, “Shochiku.
raveled cinematography to stylized high-key lights in American films…. Cheers to Karl Freund” (“Varieté no gappyo,” 12). 154. Kanematsu and Watanabe, “Meiji no katsudo daisuki shonen,” 16–17; Atsuta and Hasumi, Ozu Yasujiro monogatari, eighty three, eighty five. one hundred fifty five. Freund, “Eiga satsuei no kakumei,” 179. 156. Tanaka Masasumi, Ozu Yasujiro Shuyu, ninety five. 157. Tanaka Masasumi, Ozu Yasujiro no ho e, ninety seven. 158. Arnheim, “Lighting (1934),” sixty one; Tanaka Masasumi, Ozu Yasujiro zenhatusgen 1933–1945, 137. 159. Bordwell,.
A History/Anthology, 1907–1939, ed. Richard Abel, 137–39. Princeton: Princeton college Press, 1988. Doane, Mary Ann. “The Close-Up: Scale and aspect within the Cinema.” modifications: A magazine of Feminist Cultural stories 14.3 (2003): 89–111. ———. the need to wish: The Women's movie of the Nineteen Forties. Bloomington: Indiana college Press, 1987. D.O.C. “Horiuddo kamera gitan: Gijutsu to ningen (2)” [Story of Hollywood digital camera applied sciences: applied sciences and humans (2)]. Nihon Eiga 4.9.
Bungei shunju, 2003. ———, ed. Ozu Yasujiro zen hatsugen 1933–1945 [All phrases by way of Ozu Yasujiro]. Tokyo: Tairyu sha, 1987. Tanaka Toshio. “Camera no sowa to kessan: Amerika no bu, joron” [Abstract on digicam: the US, introduction]. Suta 5.1 (January 1937): 12–13. ———. “Chichi ariki” [There was once a Father]. Eiga Gijutsu 3.5 (May 1942): 74–75. ———. “Eiga niokeru kamera gijutsu hihan” [Criticizing digital camera innovations in cinema]. Asahi digicam 16.6 (December 1933): 578–79. ———. “Eigateki na bi, shu,.
contact, are the basic aspect within the plot. The narrator and R.N., his early life acquaintance, ensue to monitor the (fictional) detective movie Gun Moll Rosario (Jozoku Rosario) at a film theater in Asakusa, Tokyo. R.N., an opium addict, is afraid that he may need devoted homicide at an opium den in his native land, Nagasaki, prior to he got here to Tokyo. In Gun Moll Rosario, a fingerprint is proven in a close-up “as if it have been a germ ominously improved less than a microscope.”108 After obsessively.