Pure Film Movement
The Pure Film Movement (純映画劇運動, Jun'eigageki undō) was a trend in film criticism and filmmaking in 1910s and early 1920s Japan that advocated what were considered more modern and cinematic modes of filmmaking.
Critics in such magazines as Kinema Record and Kinema Junpo complained that existing Japanese cinema was overly theatrical. They said it presented scenes from kabuki and shinpa theater as is, with little cinematic manipulation and without a screenplay written with cinema in mind. Women were even played by onnagata. Filmmakers were charged with shooting films with long takes and leaving the storytelling to the benshi in the theater instead of using devices such as close-ups and analytical editing to visually narrate a scene. The novelist Jun'ichiro Tanizaki was an important supporter of the movement.[1] Critics such as Norimasa Kaeriyama eventually became filmmakers to put their ideas of what cinema is into practice, with Kaeriyama directing The Glow of Life at the Tenkatsu Studio in 1918. This is often considered the first "pure film," but filmmakers such as Eizō Tanaka, influenced by shingeki theater, also made their own innovations in the late 1910s at studios like Nikkatsu.[2] The move towards "pure film" was aided by the appearance of new reformist studios such as Shochiku and Taikatsu around 1920. By the mid-1920s, Japanese cinema exhibited more of the cinematic techniques pure film advocates called for, and onnagata were replaced by actresses. The movement profoundly influenced the way films would be made and thought about for decades to come, but it was not a complete success: benshi would remain an integral part of the Japanese film experience into the 1930s.
References
Bibliography
- Bernardi, Joanne (2001). Writing in Light: The Silent Scenario and the Japanese Pure Film Movement. Wayne State University Press. ISBN 0-8143-2926-8.
- Gerow, Aaron (2010). Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895–1925. University of California Press. ISBN 978-0-520-25456-5.
- Lamarre, Thomas (2005). Shadows on the Screen: Tanizaki Junʾichirō on Cinema and "Oriental" Aesthetics. Center for Japanese Studies, University of Michigan. ISBN 1-929280-32-7.
- Richie, Donald (1971). Japanese Cinema: Film Style and National Character. Doubleday. Available online at the Center for Japanese Studies, University of Michigan
- v
- t
- e
- Action
- Adventure
- Art
- Biographical
- Christian
- Comedy
- Cyberpunk
- Documentary
- Drama
- Erotic
- Educational
- Social guidance
- Epic
- Experimental
- Exploitation
- see Exploitation film template
- Fantasy
- Film noir
- Gothic
- Horror
- Maximalist film
- Minimalist film
- Mumblecore
- Musical
- Mystery
- Pop culture fiction
- Pornographic
- Propaganda
- Reality
- Romantic
- Science fiction
- Slice of life
- Slow cinema
- Thriller
- Transgressive
- Trick
- Animals
- Beach party
- Body swap
- Buddy
- Cannibal
- Chicano
- Colonial
- Coming-of-age
- Concert
- Crime
- Dance
- Disaster
- Drug
- Dystopian
- Ecchi
- Economic
- Ethnographic
- Exploitation
- Extraterrestrial
- Food and drink
- Gendai-geki
- Ghost
- Goona-goona epic
- Gothic
- Girls with guns
- Harem
- Hentai
- Homeland
- Isekai
- Jidaigeki
- Kaitō
- LGBT
- Yaoi
- Yuri
- Luchador
- Magical girl
- Martial arts
- Mecha
- Monster
- Mountain
- Mouth of Garbage
- Muslim social
- Nature
- Opera
- Outlaw biker
- Ozploitation
- Partisan film
- Prison
- Race
- Rape and revenge
- Road
- Rubble
- Rumberas
- Sexploitation
- Shoshimin-eiga
- Slavery
- Slice of life
- Snuff
- South Seas
- Sports
- Spy
- Superhero
- Surfing
- Swashbuckler
- Sword-and-sandal
- Sword and sorcery
- Travel
- Trial
- Vigilante
- War
- Western
or period
- Absolute
- American eccentric cinema
- New Objectivity
- Australian New Wave
- Auteur films
- Berlin School
- Bourekas
- Brighton School
- British New Wave
- Budapest school
- Calligrafismo
- Cannibal boom
- Cinéma du look
- Cinema Novo
- Cinema of Transgression
- Cinéma pur
- Commedia all'italiana
- Czechoslovak New Wave
- Documentary Film Movement
- Dogme 95
- Erra Cinema
- European art cinema
- Film d'art
- Film gris
- Free Cinema
- French New Wave
- German Expressionist
- German underground horror
- Nigerian Golden Age
- Grupo Cine Liberación
- Heimatfilm
- Hollywood on the Tiber
- Hong Kong New Wave
- Indiewood
- Iranian New Wave
- Italian futurist
- Italian neorealist
- Japanese New Wave
- Kammerspielfilm
- L.A. Rebellion
- Lettrist
- Modernist film
- Mumblecore
- Neorealist
- New French Extremity
- New German
- New generation
- New Hollywood
- New Nollywood
- New Queer
- No wave
- Nuevo Cine Mexicano
- Pan-Indian film
- Parallel cinema
- Persian Film
- Poetic realist
- Polish Film School
- Poliziotteschi
- Praška filmska škola
- Prussian film
- Pure Film Movement
- Remodernist
- Romanian New Wave
- Slow cinema
- Spaghetti Western
- Socialist realist
- Social realist
- Soviet parallel
- Structural
- Surrealist
- Sword-and-sandal
- Telefoni Bianchi
- Third Cinema
- Toronto New Wave
- Vulgar auteurism
- Yugoslav Black Wave
technique,
approach,
or production
- 3D
- Actuality
- Animation
- Anthology
- Art
- B movie
- Behind-the-scenes
- Black-and-white
- Blockbuster
- Cinéma vérité
- Classical Hollywood cinema
- Collage
- Color
- Compilation
- Composite
- Computer screen
- Cult
- Database cinema
- Docufiction
- Ethnofiction
- Experimental
- Feature
- Featurette
- Film à clef
- Film-poem
- Found footage
- Grindhouse
- Hyperlink cinema
- Independent
- Interstitial art
- Live action
- Low-budget
- Major film studios
- Masala
- Maximalist film
- Message picture
- Meta-film
- Minimalist film
- Mockbuster
- Modernist film
- Musical short
- Mythopoeia
- Neorealist
- No-budget
- One-shot
- Paracinema
- Participatory
- Poetry
- Postmodernist
- Reverse motion
- Satire
- Sceneggiata
- Semidocumentary
- Serial
- Shinpa
- Short
- Silent
- Slow cinema
- Socialist realist
- Sound
- Underground
- Video nasty
- Vulgar auteurism
- Z movie
- Category
- Portal
This filmmaking article is a stub. You can help Wikipedia by expanding it. |
- v
- t
- e