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The V-Cinema Notebook

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   Srijeda, 29 Listopad 2014 12:06

We declared the 1950s a ‘Golden Age’ of Japanese cinema on the basis of a handful of A-list film directors and the awards their films won in Europe, while our understanding of the actual circumstances of their production (not of the individual films, but of the surrounding production model whose unsung popular commercial successes paid for the limitless means the studio heads put at the A-listers’ disposal) is limited to a statistic about record audience attendance.

Which aficionados of ‘classical’ Japanese cinema are aware of what transpired on the Toho or the Shochiku studio lots once one strayed off a Kurosawa or Ozu film set? Let alone the goings-on at such purveyors of more populist fare as Shintoho or Second Toei.

- See more at: http://www.midnighteye.com/features/the-v-cinema-notebook-part-1/#sthash.DRDKJGJy.dpuf

We declared the 1950s a ‘Golden Age’ of Japanese cinema on the basis of a handful of A-list film directors and the awards their films won in Europe, while our understanding of the actual circumstances of their production (not of the individual films, but of the surrounding production model whose unsung popular commercial successes paid for the limitless means the studio heads put at the A-listers’ disposal) is limited to a statistic about record audience attendance.

Which aficionados of ‘classical’ Japanese cinema are aware of what transpired on the Toho or the Shochiku studio lots once one strayed off a Kurosawa or Ozu film set? Let alone the goings-on at such purveyors of more populist fare as Shintoho or Second Toei.

- See more at: http://www.midnighteye.com/features/the-v-cinema-notebook-part-1/#sthash.DRDKJGJy.dpuf

We declared the 1950s a ‘Golden Age’ of Japanese cinema on the basis of a handful of A-list film directors and the awards their films won in Europe, while our understanding of the actual circumstances of their production (not of the individual films, but of the surrounding production model whose unsung popular commercial successes paid for the limitless means the studio heads put at the A-listers’ disposal) is limited to a statistic about record audience attendance.
Which aficionados of ‘classical’ Japanese cinema are aware of what transpired on the Toho or the Shochiku studio lots once one strayed off a Kurosawa or Ozu film set? Let alone the goings-on at such purveyors of more populist fare as Shintoho or Second Toei.

Ovdje i ovdje.

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