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UID:events.uid.3975@www.discovernikkei.org
DTSTART:20121107T000000Z
DTEND:20121115T000000Z
DESCRIPTION:The&nbsp\;Film Society Lincoln Center is hosting a film series 
 showing the films of&nbsp\;Keuisuke Kinoshita. &nbsp\;\n\nUniversally cons
 idered one of the greatest Japanese directors\, Keisuke Kinoshita\, whose 
 centenary we celebrate with this series\, worked almost his entire career 
 for Shochiku\, the Japanese studio that also housed Yasujiro Ozu. Shochiku
  was that studio most devoted to what the Japanese call <em>shomin-geki\,<
 /em> stories of everyday life\; yet while Ozu developed a rigorous\, auste
 re style that he perfected from film to film\, Kinoshita was constantly ch
 anging\, challenging himself to adapt to new subject matter and ways of st
 orytelling. The director of Japan&rsquo\;s first color feature film\, the 
 charming musical satire <em>Carmen Comes Home</em>\, could move just a few
  months later on to the bold experimentation just a few months later of <e
 m>A Japanese Tragedy</em>\, a work whose jumbled timeframe and insertion o
 f newsreel footage anticipates the modernist films of the Sixties. He made
  bold use of traditional Japanese art forms such as <em>kabuki</em> (<em>T
 he Ballad of Narayama</em>) and brush painting (<em>The River Fuefuki</em>
 )\, but could just as easily indulge in a steamy melodrama (<em>Woman</em>
 ).\n\nKinoshita moved into the director&rsquo\;s chair after a traditional
  apprenticeship at the studio\, and his familiarity with the many technica
 l aspects of filmmaking led to his demanding the greatest effort from his 
 crews. His two wartime films are forthrightly ambiguous in their view of m
 ilitarism\, and the arrival of the American occupation forces with their p
 romotion of &ldquo\;democratic&rdquo\; ideals in the cinema suited Kinoshi
 ta perfectly. Perhaps the major theme that runs through his work is the lo
 ss of innocence: one character\, usually the protagonist\, at some point c
 omes up against the harsh realities of the world. This emphasis on the ind
 ividual\, and his or her ability to craft their own choices\, gave the ear
 ly postwar films a progressive tine\, but one can also sense the darkening
  of his vision as he moves into the Sixties. Although an early proponent f
 or change in Japan\, Kinoshita was clearly a man out of step with the vast
 ly different country that had strayed from its traditions far more than an
 yone has ever imagined\, as one can see in his final masterpiece\, the rem
 arkable <em>The Scent of Incense</em>.\n\nIt should also be said that Kino
 shita was a terrific director of actors\, and several&mdash\;Kinuyo Tanaka
 \, Hideo Takamine\, Yuko Mochizuki\, Keiji Sata&mdash\;gave some of their 
 greatest performances in his films.\n\n<strong>This series was organized i
 n collaboration with Shochiku and with the support of the Japan Foundation
 . Special thanks also to the Criterion Collection. Series programmed by Ri
 chard Pe&ntilde\;a.</strong>\n<strong>More information and tickets are ava
 ilable here: <a href="http://www.filmlinc.com/films/series/the-films-of-ke
 isuke-kinoshita">http://www.filmlinc.com/films/series/the-films-of-keisuke
 -kinoshita</a></strong>\n
DTSTAMP:20240418T044828Z
SUMMARY:The Films of Keisuke Kinoshita
URL:/en/events/2012/11/07/the-films-of-keisuke-kinoshita/
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