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The Glow Of Life
is a Japanese film directed by Norimasa Kaeriyama made in 1918 and released in 1919 by Tenkatsu. It is considered the first in a series of films aimed at reforming and modernizing Japanese cinema. Plot A country girl Teruko falls in love with the aristocrat Yanagisawa. When she once asks him what the meaning of life is, he responds that it is to live freely. Unfortunately, he does that by abandoning her. Teruko tries to commit suicide, but luckily is saved. Yanagisawa returns and apologizes to her. Cast * Minoru Murata as Yanagisawa * Harumi Hanayagi as Teruko * Sugisaku Aoyama as Teruko's father * Iyokichi Kondō as Yamashita * Shizue Natsukawa as Teruko's younger sister Production Kaeriyama was one of the leaders of the Pure Film Movement, which aimed to reform Japanese cinema by eliminating its theatrical aspects and creating films that obeyed the essence of cinema. Kaeriyama was a film critic who worked at the Tenkatsu studio, which allowed him to direct his first film, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Norimasa Kaeriyama
(1 March 1893 – 6 November 1964) was a pioneering Japanese film director and film theorist. Biography Beginning with articles he submitted to Yoshizawa Shōten's magazine ''Katsudō shashinkai'' while still a student, Kaeriyama developed a long series of critiques of contemporary Japanese cinema that would make him the leading spokesman of the Pure Film Movement in the 1910s. The ideas about what cinema should be that he developed in the journal ''Kinema Record'', which he helped found with Yukiyoshi Shigeno, were accumulated in his 1917 book, ''The Production and Photography of Moving Picture Drama'' (Katsudō shashingeki no sōsaku to satsueihō), an influential work that continued to be reprinted into the 1920s. Although an engineer by training, Kaeriyama entered the film industry, first at Nihon Kinetophone in 1914, and then at Tennenshoku Katsudō Shashin (Tenkatsu) in 1917. It was at the latter that he was able to put his ideals into practice with films such as ''Th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minoru Murata
was a Japanese film director, screenwriter, and actor who was one of the major directors of the silent era in Japan. Career Born in Tokyo, Murata started out as a shingeki actor on the stage. Murata's troupe appeared in the first " pure films" directed by Norimasa Kaeriyama at Tenkatsu in 1918. On the recommendation of the playwright Kaoru Osanai, he then joined Shochiku in 1920 and participated in the actors school Osanai ran there. He ended up directing ''Souls on the Road'' (1921), a ground breaking reformist film that is one of the few films surviving from that era. Murata later moved to Nikkatsu, where he directed such critical hits as '' Seisaku's Wife'' (1924) and ''The Street Juggler'' (1925) which were "important in establishing the form of Japanese films about contemporary life." He later worked at Shinkō Kinema. He started up the important journal, ''Eiga kagaku kenkyū'', in 1928 with Kiyohiko Ushihara, and helped found the Directors Guild of Japan in 1936, becom ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harumi Hanayagi
was a pioneering Japanese film and stage actress. Career In 1915, Hanayagi became a student at the Geijutsuza, the modern theater troupe led by Hōgetsu Shimamura and Sumako Matsui, and made her stage debut. She moved to the Tōjisha troupe in 1917 and appeared with them in a series of films directed by Norimasa Kaeriyama for Tenkatsu, starting with ''The Glow of Life'' (released 1919). In an era where female roles on screen were played by male actors (onnagata), Hanayagi was considered "the first billed appearance of a female performer" in Japanese cinema, even though actresses such as Nakamura Kasen had appeared in earlier films or in rensageki, a combination of film and live stage performance. After appearing in more films, she focused her career on the stage after 1920, eventually appearing in the Tsukiji Little Theater as well as the proletarian theater of Tomoyoshi Murayama. She retired in 1928 after getting married. Selected filmography *''The Glow of Life'' (1919) *''Th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shizue Natsukawa
was a Japanese actress. Career Natsukawa was born in Tokyo and first appeared on stage at age seven. She joined the Nikkatsu studio in 1927 and came to fame through such films as ''Kantsubaki'' and Kenji Mizoguchi's ''Tokyo March''. She married the song composer Nobuo Iida and retired from acting for a while, but returned to the screen with Shiro Toyoda's ''Kojima no haru''. She played many secondary roles on film and television after the war. Both her brother Daijirō Natsukawa and her daughter Kahoru Natsukawa took up acting. Selected filmography Film *''The Glow of Life'' (1918) *''Tokyo March'' (1929) *''Young People'' (1937) *'' Spring on Leper's Island'' (1940) *''Love Letter'' (1953) *'' Be Happy, These Two Lovers'' (1953) *''Twenty-Four Eyes'' (1954) *''Shuzenji Monagatari'' (1955), Hōjō Masako *''Anzukko is a 1958 Japanese drama film directed by Mikio Naruse. It is based on a novel by Saisei Murō. Plot Kyoko, daughter of successful writer Hirayama, rejects ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tennenshoku Katsudō Shashin
was a Japanese film studio active in the 1910s. The name translates as the "Natural Color Moving Picture Company," but it was known as Tenkatsu for short. The company was formed in 1914 by remnants of the Fukuhōdō studio that did not take part in the merger that formed Nikkatsu, particularly the entrepreneur Kisaburō Kobayashi, and was first aimed at exploiting the Kinemacolor color motion picture system in Japan. That system became too expensive, so the company soon settled on making regular films, becoming Nikkatsu's main rival in the 1910s. Although it was a decentralized company, one that was run by various bosses and allowed benshi to order the production of films, Tenkatsu played a part in the Pure Film Movement by allowing its employee Norimasa Kaeriyama to direct some of the first reformist works incorporating actresses and foreign film technique. It was also known for hiring Ōten Shimokawa to produce some of the first Japanese anime or animated films Animation is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Reel
A reel is an object around which a length of another material (usually long and flexible) is wound for storage (usually hose are wound around a reel). Generally a reel has a cylindrical core (known as a '' spool'') with flanges around the ends (known as the ''rims'') to retain the material wound around the core. In most cases the core is hollow in order to pass an axle and allow the reel to rotate like a wheel, and crank or handles may exist for manually turning the reel, while others are operated by (typically electric) motors. Construction The size of the core is dependent on several factors. A smaller core will obviously allow more material to be stored in a given space. However, there is a limit to how tightly the stored material can be wound without damaging it and this limits how small the core can be. Other issues affecting the core size include: * Mechanical strength of the core (especially with big reels) * Acceptable turning speed (for a given rate of material ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pure Film Movement
The 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. 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 c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wayne State University Press
Wayne State University Press (or WSU Press) is a university press that is part of Wayne State University. It publishes under its own name and also the imprints Painted Turtle and Great Lakes Books Series. History The Press has strong subject areas in Africana studies; fairy-tale and folklore studies; film, television, and media studies; Jewish studies; regional interest; and speech and language pathology. Wayne State University Press also publishes eleven academic journals, including ''Marvels & Tales'', and several trade publications, as well as the ''Made in Michigan Writers Series''. WSU Press is located in the Leonard N. Simons Building on Wayne State University's main campus. An editorial board approves the Wayne State University Press's titles. The board considers proposals and manuscripts presented by WSU Press's acquisitions department. WSU Press also has a Board of Visitors, dedicated to fundraising and advocacy in support of the Press. Officially, WSU Press is an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shingeki
was a leading form of theatre in Japan that was based on modern realism. Born in the early years of the 20th century, it sought to be similar to modern Western theatre, putting on the works of the ancient Greek classics, William Shakespeare, Molière, Henrik Ibsen, Anton Chekov, Tennessee Williams, and so forth. As it appropriated Western realism, it also introduced women back onto the Japanese stage. History Historical background The origin of Shingeki is linked to various movements and theatre companies. Scholars associate its origin with the kabuki reform movement, the founding of the Bungei Kyokai (Literary Arts Movement) in 1906, and the Jiyū Gekijō (Free Theatre) in 1909.Jortner, David, et al., editors. ''Modern Japanese Theatre and Performance''. Lexington Books, 2006. The Meiji Restoration in 1868 had led to the introduction of Western drama, singing, and acting onto the Japanese stage, as well as bringing the conventions of realism. In the late 19th century, and earl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
