By Abe Mark Nornes
ISBN-10: 0816649073
ISBN-13: 9780816649075
“Extraordinarily worthy, illuminating, or even wonderful, woodland of strain brims with the categories of knowledge that just a key insider can get his fingers on.” —Mitsuhiro Yoshimoto, manhattan collage Ogawa Productions—known in Asia as Ogawa Pro—was an influential filmmaking collective that begun within the Nineteen Sixties below the course of Ogawa Shinsuke (1936–1992). among 1968 and the mid-1970s, Ogawa professional electrified the japanese pupil flow with its Sanrizuka documentary series—eight movies chronicling the large protests over the development of the Narita airport—which has given that turn into the normal opposed to which documentaries are measured in Japan. A severe biography of a collective, wooded area of strain explores the emergence of socially dedicated documentary filmmaking in postwar Japan. examining Ogawa Pro’s motion pictures and works by means of different eastern filmmakers, Ab? Mark Nornes addresses key matters in documentary thought and perform, together with person and collective cinema construction modes and the connection among topic and item. profiting from unparalleled entry to Ogawa Pro’s records and interviews with former contributors, woodland of strain is an leading edge examine the destiny of political filmmaking within the wake of the movement’s loss of life. Ab? Mark Nornes is affiliate professor of reveal arts and cultures and Asian languages and cultures on the college of Michigan. he's a coordinator on the Yamagata overseas Documentary movie pageant and the writer of jap Documentary movie: The Meiji period via Hiroshima (Minnesota, 2003).
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Extra info for Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary (Visible Evidence)
Sample text
18 OGAWA AS POSTWAR DOCUMENTARIST While Iwanami filmmakers made industrial strength commercials for some of the most corrupt, polluting corporations in Japan, social movements of every sort were taking to the streets. Chafing under the weight of these contradictions, the members of the Blue Group abandoned Iwanami for a politicized, independent documentary. ᮣ On the Subject of Documentary The Blue Group members’ individual decisions to quit Iwanami and strike out on an independent path cannot be understood outside of the context of the decisive push coming from an audacious young filmmaker named Matsumoto Toshio, whose contributions to the critical sphere were as influential as his filmmaking.
These were the kind of seismographic film events that Bazin de- 14 OGAWA AS POSTWAR DOCUMENTARIST scribes, where the river of cinema begins carving new routes after the equilibrium of their bed is upset. Although Hani is best known for features films like Bad Boys (Furyo shonen, 1961), He and She (Kare to kanojo, 1963), and Nanami: The Inferno of First Love (Hatsukoi: Jigokuhen, 1968), he started his film career with documentaries that decisively revealed the conventional rigidity of the dominant style.
Of their five children, the eldest daughter left the village to work in a factory in the city. The remaining children help out on the farm. Silk production is considered women’s work, and the mother is constantly worried about her worms. In addition to these duties, she also cleans, cooks, and helps in the fields. The difficulty of her position is shown in a poignant scene where the family sleeps while the mother works into the night. Following the cycle of the seasons and the harvest, the film ends with 10 OGAWA AS POSTWAR DOCUMENTARIST the sale of her cocoons.
Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary (Visible Evidence) by Abe Mark Nornes
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