“In the 1950s, Japanese cinema enjoyed what is widely discussed as its second “golden age” – a period in which the country’s filmic output was considered among the best in the world. This was a time when directors like Akira Kurosawa (Rashomon), Kenji Mizoguchi (Ugetsu) and Masaki Kobayashi (Harakiri) were winning top awards in Europe. Japanese genre classics were transforming the shape of Hollywood – as Seven Samurai, Yojimbo and The Hidden Fortress were soon-to-be adapted to create The Magnificent Seven, A Fistful of Dollars and Star Wars in the West. And as Godzilla was born out of the atomic destruction of Hiroshima and Nagasaki, Yasujirō Ozu (Tokyo Story) was creating gentle cinematic works that are today admired as some of the greatest of all time.
But while the stars of the screen were both male and female, the influential figures behind the cameras were predominantly men; the effect of a deeply patriarchal society historically bound by tradition. Most discussions of this deeply influential period of global cinema, in fact, will have little to say about female filmmaking at all – there were so few figures consistently working in the field. It was not until a young Naomi Kawase (Suzaku) won the Caméra d’Or at Cannes in 1997 that women filmmakers of Japan truly found sustained recognition overseas.
Much-welcomed, then, is the BFI’s latest film season, in collaboration with Edinburgh Film Festival (EIFF) and Janus Films. Titled Kinuyo Tanaka: A Life in Film, it explores the outstanding works of one of the country’s first-ever female auteurs – whose incredible and under-seen films have been newly restored in 4K. A screen icon in her own right (highlights from her incredible acting career, including collaborations with nearly all of the aforementioned filmmaking giants, are to be shown in September), Tanaka defied the male gatekeepers of the industry to carve out her own career behind the camera. She thrived in the process, delivering works that matched those of her male counterparts and often surpassed them.
Though her directing career was short (Tanaka completed six films in nine years in total), the stories she told were vital tales of female agency and desire that were essential to the cinematic development of one of the world’s great filmmaking nations.“
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The Legacy Of Akira Kurosaw
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Iizuka Kashou
Gender: Transgender Man
Sexuality: N/A
DOB: 11 June 1990
Ethnicity: Japanese
Occupation: Screenwriter, Director
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BL 2023 - Put Your Head on My Shoulder
(everyone but Thailand, in a different post)
The 8th Sense
Stay By My Side
My Personal Weatherman
I Cannot Reach You
Mr Cinderella 2
Shoulder to Cry On
Bump Up Business
Jun & Jun
The Director Who Buys Me Dinner
Why R U?
Unintentional Love Story
(source)
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A film is never really good unless the camera is an eye in the head of a poet.
- Akira Kurosawa
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You're the light, you're the night | You're the colour of my blood | You're the cure, you're the pain | You're the only thing I wanna touch - Love Me Like You Do by Ellie Goulding
Moonlight Chicken
HIStory 2: Crossing The Line
Utsukushii Kare Season 2
Gaya Sa Pelikula (aka Like In The Movies)
The Director Who Buys Me Dinner
HIStory 5: Love In The Future
Tinted With You
The New Employee
Favorite "Let-me-watch-you-while-you-sleep-moments" (Part 1/?) as part of my favorite bl-tropes collection.
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