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Hace 2 días · Historical Classics Japan's film industry has a storied history, with directors like Akira Kurosawa, Yasujirō Ozu, and Kenji Mizoguchi setting high standards for storytelling and cinematic techniques. Kurosawa's "Rashomon" (1950) revolutionized narrative structure and is essential viewing. Ozu's "Tokyo Story" (1953) ...
Hace 1 día · Una scena tratta dal film “I racconti della luna pallida d’Agosto” di Kenji Mizoguchi – Analisi Critica Ma quella che è la rappresentazione femminile, sia essa attraverso le figure reali sia attraverso i fantasmi o le incarnazioni dei desideri, in realtà serve per far riflettere sulla condizione umana in generale e sui rapporti umani e sociali.
Hace 2 días · An aficionado of cinema from every nation and decade, Scorsese has long discussed the profound effect Kenji Mizoguchi’s various films have had on him over the years. While Scorsese has been quick to praise Mizoguchi’s work on The Life of Oharu and Sansho the Bailiff , the director’s 1953 fantasy drama, Ugetsu , remains Scorsese’s favorite entry in Mizoguchi’s filmography.
Hace 5 días · They’ve arrived at #75, a slot shared by Kenji Mizoguchi’s Sansho the Bailiff (1954), Douglas Sirk’s Imitation of Life (1959), and Hayao Miyazaki’s Spirited Away (2001). In Sansho, an eleventh-century governor is exiled, his wife and children are separated, and for Ari Aster, this is “just one of the most devastating melodramas I’ve ever seen.”
Hace 1 día · The first seven were directed by Kenji Kodama; films 8–14 were directed by Yasuichiro Yamamoto; films 15–21 were directed by Kobun Shizuno; film 22 and 26 were directed by Yuzuru Tachikawa; films 23, 24, and 27 were directed by Chika Nagaoka; and film 25 was directed by Susumu Mitsunaka.
Hace 4 días · Nuevo. Avilés, 28 jun (EFE).-. El fotógrafo brasileño Miguel Río Branco ha presentado este viernes en Avilés sus collages coloridos en una exposición especialmente cuidada por el autor ...
Hace 1 día · Essays explore Chantal Akerman’s rigorous honesty, Ingmar Bergman’s intimacy, Abbas Kiarostami’s playfulness, Kenji Mizoguchi’s visual style, and Frederick Wiseman’s vision of the human condition. Lopate also reflects on the work of fellow critics, including Roger Ebert, Pauline Kael, and Jonathan Rosenbaum.
