Movement of pure cinema

The movement of pure cinema 純 映 画 劇 運動 , Jun’eigageki undō ? ) Is a current of cinematographic criticism and filmmaking of Japan in the 1910s and early 1920s, which advocates what are considered filmmaking more modern and cinematographic. Critics of magazines such as Kinema Record and Kinema Junpo regret that Japanese cinema is too theatrical. They argue that this one presents kabuki and shinpa theater scenesas such, with little purely cinematic creation and without a script written with cinema in mind. Female roles are even played by onnagata . Filmmakers are reproached for making long shots and delegating narration to benshi in movie theaters instead of using devices such as close-ups and editing to visually tell a scene. The novelist Junichiro Tanizaki is a major supporter of the movement 1 . Critics such as Norimasa Kaeriyama finally become directors in order to put into practice their conceptions of cinema. Kaeriyama directs The Glow of Life at Tenkatsu studioin 1918. This film is often considered the first “pure film” but directors like Eizo Tanaka , influenced by shingeki theater , also bring their own innovations in the late 1910s in studios like the Nikkatsu 2 . The evolution towards “pure cinema” is favored by the appearance of new reformist studios like Shōchiku and Taishō Katsuei around 1920. In the mid-1920s, Japanese cinema presented several of the film techniques demanded by the lawyers of the films pure, and the onnagataare replaced by actresses. The movement has a profound influence on how films are made and conceived for decades to come, but this is not a complete success: the benshi remain an integral part of the reality of Japanese film until the 1930s.

Notes and references

  1. ↑ See Lamarre and Bernardi.
  2. ↑ Richie, p.   8 .

Leave a Comment