Golden Age of Asian cinema



MATERI KULIAH 2 DESEMBER 2010

Golden Age of Asian cinema

Following the end of World War II in the 1940s, the following decade, the 1950s, marked a 'Golden Age' for non-English world cinema,[1][2] especially for Asian cinema.[3][4] Many of the most critically acclaimed Asian films of all time were produced during this decade, including Yasujiro Ozu's Tokyo Story (1953), Satyajit Ray's The Apu Trilogy (1955–1959) and The Music Room (1958), Kenji Mizoguchi's Ugetsu (1954) and Sansho the Bailiff (1954), Raj Kapoor's Awaara (1951), Mikio Naruse's Floating Clouds (1955), Guru Dutt's Pyaasa (1957) and Kaagaz Ke Phool (1959), and the Akira Kurosawa films Rashomon (1950), Ikiru (1952), Seven Samurai (1954) and Throne of Blood (1957).[5][6]

During Japanese cinema's 'Golden Age' of the 1950s, successful films included Rashomon (1950), Seven Samurai (1954) and The Hidden Fortress (1958) by Akira Kurosawa, as well as Yasujiro Ozu's Tokyo Story (1953) and Ishirō Honda's Godzilla (1954).[15] These films have had a profound influence on world cinema. In particular, Kurosawa's Seven Samurai has been remade several times as Western films, such as The Magnificent Seven (1960) and Battle Beyond the Stars (1980), and has also inspired several Bollywood films, such as Sholay (1975) and China Gate (1998). Rashomon was also remade as The Outrage (1964), and inspired films with "Rashomon effect" storytelling methods, such as Andha Naal (1954), The Usual Suspects (1995) and Hero (2002). The Hidden Fortress was also the inspiration behind George Lucas' Star Wars (1977). Other famous Japanese filmmakers from this period include Kenji Mizoguchi, Mikio Naruse, Hiroshi Inagaki and Nagisa Oshima.[7] Japanese cinema later became one of the main inspirations behind the New Hollywood movement of the 1960s to 1980s.

During Indian cinema's 'Golden Age' of the 1950s, it was producing 200 films annually, while Indian independent films gained greater recognition through international film festivals. One of the most famous was The Apu Trilogy (1955–1959) from critically acclaimed Bengali film director Satyajit Ray, whose films had a profound influence on world cinema, with directors such as Akira Kurosawa,[8] Martin Scorsese,[9][10] James Ivory,[11] Abbas Kiarostami, Elia Kazan, François Truffaut,[12] Steven Spielberg,[13][14][15] Carlos Saura,[15] Jean-Luc Godard,[17] Isao Takahata,[18] Gregory Nava, Ira Sachs, Wes Anderson[19] and Danny Boyle[20] being influenced by his cinematic style. According to Michael Sragow of The Atlantic Monthly, the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy".[21] Subrata Mitra's cinematographic technique of bounce lighting also originates from The Apu Trilogy.[22] Other famous Indian filmmakers from this period include Guru Dutt,[23] Ritwik Ghatak,[24] Mrinal Sen, Raj Kapoor, Bimal Roy, K. Asif and Mehboob Khan.[25]

The cinema of South Korea also experienced a 'Golden Age' in the 1950s,[26] beginning with director Lee Kyu-hwan's tremendously successful remake of Chunhyang-jon (1955).[27] That year also saw the release of Yangsan Province by the renowned director, Kim Ki-young, marking the beginning of his productive career. Both the quality and quantity of filmmaking had increased rapidly by the end of the 1950s. South Korean films, such as Lee Byeong-il's 1956 comedy Sijibganeun nal (The Wedding Day), had begun winning international awards. In contrast to the beginning of the 1950s, when only 5 movies were made per year, 111 films were produced in South Korea in 1959.[28]

The 1950s was also a 'Golden Age' for Philippine cinema, with the emergence of more artistic and mature films, and significant improvement in cinematic techniques among filmmakers. The studio system produced frenetic activity in the local film industry as many films were made annually and several local talents started to earn recognition abroad. The premiere Philippine directors of the era included Gerardo de Leon, Gregorio Fernandez, Eddie Romero, Lamberto Avellana, and Cirio Santiago.[29][30]

1. ^ "The Golden Age of the Foreign Film". Film Forum. . Retrieved 2009-05-29. 

2. ^ Tracy K. Daniels (January 11, 2008). "Hybrid Cinematics: Rethinking the role of filmmakers of color in American Cinema". Massachusetts Institute of Technology. . Retrieved 2009-05-22. 

3. ^ a b c d Kevin Lee (2002-09-05). "A Slanted Canon". Asian American Film Commentary. . Retrieved 2009-04-24. 

4. ^ a b c Totaro, Donato (January 31, 2003). "The “Sight & Sound” of Canons". Offscreen Journal (Canada Council for the Arts). . Retrieved 2009-04-19. 

5. ^ Dave Kehr, Anime, Japanese Cinema's Second Golden Age, The New York Times, January 20, 2002.

6. ^ Robinson, A (2003). Satyajit Ray: The Inner Eye: The Biography of a Master Film-Maker. I. B. Tauris. p. 96. ISBN 1860649653. 

7. ^ Chris Ingui. "Martin Scorsese hits DC, hangs with the Hachet". Hatchet. . Retrieved 2006-06-29. 

8. ^ Jay Antani (2004). "Raging Bull: A film review". . . Retrieved 2009-05-04. 

9. ^ Sheldon Hall. "Ivory, James (1928-)". Screen Online. . Retrieved 2007-02-12. 

10. ^ Dave Kehr (May 5, 1995). "THE 'WORLD' OF SATYAJIT RAY: LEGACY OF INDIA'S PREMIER FILM MAKER ON DISPLAY". Daily News. . Retrieved 2009-06-06. 

11. ^ Ray, Satyajit. "Ordeals of the Alien". The Unmade Ray. Satyajit Ray Society. . Retrieved 2008-04-21. 

12. ^ Neumann P. "Biography for Satyajit Ray". Internet Movie Database Inc. . Retrieved 2006-04-29. 

13. ^ Newman J (2001-09-17). "Satyajit Ray Collection receives Packard grant and lecture endowment". UC Santa Cruz Currents online. . Retrieved 2006-04-29. 

14. ^ Suchetana Ray (March 11, 2008). "Satyajit Ray is this Spanish director's inspiration". CNN-IBN. . Retrieved 2009-06-06. 

15. ^ André Habib. "Before and After: Origins and Death in the Work of Jean-Luc Godard". Senses of Cinema. Archived from the original on 2006-06-14. . Retrieved 2006-06-29. 

16. ^ Daniel Thomas (January 20, 2003). "Film Reviews: Grave of the Fireflies (Hotaru no Haka)". . Retrieved 2009-05-30. 

17. ^ "On Ray's Trail". The Statesman. Archived from the original on 2008-01-03. . Retrieved 2007-10-19. 

18. ^ Alkarim Jivani (February 2009). "Mumbai rising". Sight & Sound. . Retrieved 2009-02-01. 

19. ^ Sragow, Michael (1994). "An Art Wedded to Truth". The Atlantic Monthly (University of California, Santa Cruz). . Retrieved 2009-05-11. 

20. ^ "Subrata Mitra". Internet Encyclopedia of Cinematographers. . Retrieved 2009-05-22. 

21. ^ "2002 Sight & Sound Top Films Survey of 253 International Critics & Film Directors". Cinemacom. 2002. . Retrieved 2009-04-19. 

22. ^ "Korean film Festival, DC 2004". September–October 2004. . Retrieved 2009-05-22. [dead link]

23. ^ Jon Marshall. "A Brief History of Korean Film". . Retrieved 2009-05-22. 

24. ^ Darcy Paquet. "1945-1959". Korean Film Page. . Retrieved 2009-05-22. 

25. ^ Is the Curtain Finally Falling on the Philippine Kovie Industry?. Accessed January 25, 2009.

26. ^ Aenet: Philippine Film History. Accessed January 22, 2009.

27. ^ K. Moti Gokulsing, K. Gokulsing, Wimal Dissanayake (2004). Indian Popular Cinema: A Narrative of Cultural Change. Trentham Books. pp. 98–99. ISBN 1858563291. 

28. ^

PERSIAPAN UNTUK UJIAN AKHIR SEMESTER (UAS):

1. Tonton 1 film Jepang

2. Tonton 1 film Korea

3. Tonton 1 film India

4. Tonton 1 film China (Hongkong, Taiwan)

Catatan: - Sutradara bebas

- Genre bebas

- Periode produksi bebas

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