The Geidōmono Genre and Intermedial Acting in Ozu and Mizoguchi

Chapter 5 revisits the work of two cinematic giants, Kenji Mizoguchi and Yasujirō Ozu, and their recourse to theatre in The Story of the Last Chrysanthemums (Zangiku monogatari, 1939) and Floating Weeds (Ukigusa, 1959) respectively. In them, the mediums of theatre and film are scrutinised through the self-reflexive genre of geidōmono, encompassing films in which the protagonist is a practitioner of one of the traditional Japanese arts. Here, theatre serves both the Mizoguchi and the Ozu films to break down the system at the base of the mediums of theatre and film into their constitutive parts, provide evidence of their reality, and propose a fairer arrangement of them, in particular as regards the ruthless hierarchy embedded in both mediums.

Àngel Guimerà en el cine japonés: intertextualidad intercultural en la adaptación de Kenji Mizoguchi del drama Terra Baixa

Desde los inicios de la industria cinematográfica en Japón se realizaron un gran número de películas basadas en obras literarias occidentales, especialmente durante las décadas de 1910 y 1920. El director que realizó el mayor número de estas adaptaciones fue Kenji Mizoguchi. Entre estas se encuentra Jinkyō (Este mundo polvoriento, 1924), basada en del drama de Àngel Guimerà Terra baixa (Tierra baja). Dado que la película está perdida, en este estudio se analiza esta adaptación intercultural a través de fotogramas y reseñas de revistas de cine publicadas en la época. Se describe cómo y en qué momento llegó a ese país la obra de Guimerà, cómo el cineasta la trasladó al contexto cultural japonés, y de qué modo influyeron el contexto histórico-social y la tradición cultural en el proceso de adaptación.

A palavra em movimento no filme O Intendente Sansho, de Kenji Mizoguchi

Por meio deste ensaio, pretende-se estabelecer uma relação entre a literatura e o cinema a partir da leitura de cenas e efeitos sonoros do filme Sanshô Dayû (O Intendente Sansho, 1954), do cineasta japonês Kenji Mizoguchi, posto que o roteiro do filme foi escrito a partir de novela homônima de Ogai Mori. Para tanto se destacará a importância da articulação entre a nomeação das personagens e a palavra (cantada e escrita) na montagem desse clássico do cinema japonês.

War Memory and Mizoguchi’s Film

This paper focuses on the Japanese film director called Kenji Mizoguchi who worked not only the making films but gave the caricature impact to the Japanese society. He was touching with the Japanese philosophy and spirit before and after the World War II. He described the common life of the Japanese life, especially tracing on how the women were dis-treated because of the context of the machismo in the public and at home. Also, the women were prohibited to have good education. The Japanese women at that time had a harsh moment to find their identity. For instance, as I experienced the poverty and discriminations just to be a women, Mizoguchi’s film encouraged me and opened a door to the new life.