In 2018, Hirokazu Kore-eda’s Shoplifters gained the Palme d’Or at Cannes. The award itself got here as much less of a shock than did the truth that Shoplifters was the primary of Kore-eda’s movies to win it, given how lengthy he’d been probably the most extensively acclaimed Japanese filmmaker alive. And although it had been greater than twenty years for the reason that Palme final went to a Japanese film — Shomei Imamura’s The Eel, in 1997 — Japan had lengthy since established itself at Cannes because the Asian nation to beat. Imamura’s The Ballad of Narayama had gained the Palme in 1983, Akira Kurosawa’s Kagemusha in 1980, and Teinosuke Kinugasa’s Gate of Hell in 1954, when Western cinephiles have been solely simply beginning to recognize Japanese cinema.
Why has that appreciation confirmed so enduring? That is one query investigated by “The Important Japanese Cinema,” a video essay from The Cinema Cartography. Narrator Luiza Liz Bond emphasised the “heightened aesthetic sensibility” of Japanese filmmakers, on show in “the tender remark of Ozu’s Tokyo Story, the poetic rhapsody of Kurosawa’s Goals, the harrowing female gaze of Videophobia.” However one can discover examples simply as wealthy and much more varied in lesser-known movies from Japan similar to Shūji Terayama’s engagé experimental drama Throw Away Your Books, Rally within the Streets, Kaizō Hayashi’s oneiric silent-film pastiche To Sleep as to Dream, and Gakuryū Ishii’s subtly psychedelic and science-fictional coming-of-age story August within the Water.
The video organizes these movies and plenty of others below a rubric of philosophical ideas drawn from Japanese tradition. These embrace bushidō, the code of the samurai Westerners got here to know by means of the images of Akira Kurosawa and Masaki Kobayashi; wabi-sabi, a great of magnificence centered on imperfect issues; mono no conscious, a sensitivity to the transient and the ephemeral; and guro, which pushes the unsettling to its outer limits. Their heightened aesthetic sensibility “grants Japanese filmmakers the flexibility to be fine-tuned to the grotesque and the ugly,” Bond notes. They perceive that all of us get pleasure from magnificence, however an appreciation of ugliness is critical to amplify this course of. The wonder and the ugly usually are not opposites, however totally different elements of the identical factor.”
After all, one needn’t be aware of these concepts as a way to get pleasure from Japanese cinema. The feel-intensive eroticism of Hiroshi Teshigahara’s Lady within the Dunes, the junkyard physique horror of Shinya Tsukamoto’s Tetsuo: The Iron Man, the relentlessly weird inventiveness of Nobuhiko Obayashi’s Home: these may solely be delivered by filmmakers who perceive first that they work in a medium of visceral energy. Even the work of Yasujirō Ozu, famed for its imperturbable restraint, resonates extra deeply than ever with us six a long time after his dying. “It’s not possible to talk of the elegant with out talking of his portrayal of human fragility,” says Bond. “Ozu is rarely too sentimental, by no means too decorative.” Would that extra modern-day filmmakers, from Japan or wherever else, seemed to his instance.
Associated content material:
How One Easy Minimize Reveals the Cinematic Genius of Yasujirō Ozu
Hayao Miyazaki Meets Akira Kurosawa: Watch the Titans of Japanese Movie in Dialog (1993)
How Grasp Japanese Animator Satoshi Kon Pushed the Boundaries of Making Anime: A Video Essay
Wabi-Sabi: A Brief Movie on the Great thing about Conventional Japan
A Web page of Insanity: The Misplaced Avant Garde Masterpiece from Early Japanese Cinema (1926)
Based mostly in Seoul, Colin Marshall writes and broadcasts on cities, language, and tradition. His tasks embrace the Substack publication Books on Cities, the guide The Stateless Metropolis: a Stroll by means of Twenty first-Century Los Angeles and the video collection The Metropolis in Cinema. Comply with him on Twitter at @colinmarshall or on Fb.
