Contemporary Japanese film.
Material type: TextPublication details: United States of America : Mark schilling, 1999. Edition: 15th edDescription: 399 p. : ill. ; 23 cmISBN: 9780834804159DDC classification: 791.43 SCH Summary: This comprehensive look at Japanese cinema in the 1990s includes nearly four hundred reviews of individual films and a dozen interviews and profiles of leading directors and producers. Interpretive essays provide an overview of some of the key issues and themes of the decade, and provide background and context for the treatment of individual films and artists. In Mark Schilling's view, Japanese film is presently in a period of creative ferment, with a lively independent sector challenging the conventions of the industry mainstream. Younger filmmakers are rejecting the stale formulas that have long characterized major studio releases, reaching out to new influences from other media—television, comics, music videos, and even computer games—and from both the West and other Asian cultures. In the process they are creating fresh and exciting films that range from the meditative to the manic, offering hope that Japanese film will not only survive but thrive as it enters the new millennium.Item type | Current library | Call number | Status | Date due | Barcode |
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General Literature | FNPH LIBRARY | 791.43 SCH (Browse shelf(Opens below)) | Available | 13027 |
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759.95 LIP The artist in Edo. | 759.95 SCR Obtaining images : | 781.66 ACH Imagine : | 791.43 SCH Contemporary Japanese film. | 791.443 NAP Anime form Akira to Howl's moving castle : | 792.09 STU Three elizabethan domestic tragedies. | 792.09 STU Four tragedies and Octavia. |
This comprehensive look at Japanese cinema in the 1990s includes nearly four hundred reviews of individual films and a dozen interviews and profiles of leading directors and producers. Interpretive essays provide an overview of some of the key issues and themes of the decade, and provide background and context for the treatment of individual films and artists.
In Mark Schilling's view, Japanese film is presently in a period of creative ferment, with a lively independent sector challenging the conventions of the industry mainstream. Younger filmmakers are rejecting the stale formulas that have long characterized major studio releases, reaching out to new influences from other media—television, comics, music videos, and even computer games—and from both the West and other Asian cultures. In the process they are creating fresh and exciting films that range from the meditative to the manic, offering hope that Japanese film will not only survive but thrive as it enters the new millennium.
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