kenji mizoguchi cinematographic style in 'the life …...~tbat kenji's never applied his...

KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)

Rickmarthel Julian Kayug

Bachelor of Applied Arts with Honours (Cinematography)

2013

UNIVERSITI MALAYSIA SARA W AK

BORANG PENGESAHAN STATUS TESISLAPORAN

JUDUL Kenji Mizoguchi Cinematographic Style (Long Take) In The Life OfOharu

(1952)

SESI PENGAJIAN 200912013

Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011

mengaku membenarkan tesisl Laporan ini disimpan di Pusat Khidmat Maklumat

Akademik Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut

1 Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak

2 Pusat Khidmat Maklumat Akademik Universiti Malaysia Sarawak dibenarkan

membuat salinan untuk tujuan pengajian sahaja


membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan


membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi

pengajian tinggi

5 sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan6middotD SULIT atau kepentingan seperti termaktub di dalam AKTA

D RAHSIA 1972)TERHAD

(mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan)

V ~IDAK TERHAD

Disahkan

Disahkan Oleh

cdt~f bull

Tandatangan Penyelia

Tarikh tL~ 1~ ~ l3 Tarikh ~I O-=l4l ~ Alamat Tetap Kg Pamilaan Peti Surat 12989908 Tenom Sabah Mobil Jefri ~ samareoa

faculty ofApplie4 aM CrcallVe

LectIlU

Catatan Tesis Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah~a Muda bull lika Tesis Laporan SULIT atau TERHAD sila lampirkan surat daripada pihak berkuasal

organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD

Tandatangan Penulis

This project report attached hereto entitled KENJI MIZOGUCHI

CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)

Prepared and submitted by RICKMARTHEL JULIAN KA YUG as a partial fulfilment of the

requirement for the degree of Bachelor of Applied and Creative Art with honours

(Cinematography) is hereby read and approved by

Read and approved by

Lecturer (Supervisor)

Date r1 7011

ii

IUllt Khltlmat Maklumat AkademiM UNJVERS ~W SJA S WAK

KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF

OHARU(1952)

RICKMARTHEL JULIAN KAYUG

This project is submitted in partial of fulfilment of

the requirements for the degree of Bachelor of Applied and Creative Art with Honours (Cinematography)

Faculty of Applied and Creative Art


2013

iii

Dedication goes especially to My beloved parents family and friends

Thank you for everything

iv

I

ACKNOWLEDGEMENT

Fullest gratitude to the GOD I was able to complete my final year project as scheduled

First and foremost I would like to express my high gratitude to my supervisor Mr Mohd

Jefri Bin Samaroon for his guidance and encouragements throughout this project Without him

priceless advice encouragement and guidance this thesis would be an extreamely hard task for

me This also goes to the lecturers and staff of Faculty of Applied and Creative Art

I would also like to convey my gratitude to my friends especially my coursemates In

Cinematography programme for their time and understanding and last but not least to my

beloved family for their guidance and support in helping me finishing this final year project

From the bottom of my heart once again I would like to wish my appreaction for them

thank you for everything God bless us

v

ABSTRACT


OHARU (1952)

I~


This study aimed to identify and study the techniques of cinematography (long take) through the

review of the film The Life of Oharu (1952) directed by Kenji Mizoguchi Long Take is the

technique of taking a shot with a long duration that is not the same with the usual techniques

(Bordwell D (2008)) However the duration of the long take video or film is different

depending on the influence of a director Methods of data collection through content analysis is

used to identify data about long take duration and themes found in the films studied From the

study the researcher will produce a short video entitled Nexus

vi

ABSTRAK

TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE

LIFE OF OHARU (1952)


Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long

take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi

Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak

sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video

atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah

Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data

mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian

pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus

vii

IUS2t dmat um t a I Ii

UNIVERSm MALAYSIA SAKAWAK

Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V

ABSTRACT (English Version) VI

ABSTRACT (Bahasa Malaysia Version) vii

TABLE OF CONTENTS viii-xi

LIST OF TABLES XlI

LIST OF FIGURES xiii

viii

I

CHAPTER 1 INTRODUCTION

10 Introduction

11 Research Background

12 Problem Statement

13 Research Questions

14 Research Objective

15 Research Scope

16 Research Framework

17 Limitation

CHAPTER 2 LITERATURE REVIEW

20 Introduction

21 Long Take Features

211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I

22 Analysis of the Life ofOharu(J952)

22 1 Duration

222 Cinematography (Long Take)

223 Theme (Realism)

I I

CHAPTER 3 RESEARCH METHODOLOGI

30 Introduction

31 Qualitative Method (Observation)

32 Film Analysis Content Analysis

321 Long Take

322 Mise- en-scene

33 Film Critic Review

331 Michael Harbour (2012)

332 Danny Kanna (2011)

I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x

CHAPTER 4 FINAL YEAR PROJECT DISCUSSION

40 Introduction

41 Synopsis

42 Applying Research Into Final Year Project (Short Film)

43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght

CHAPTER 5 CONCLUSION

50 Conclusion

BIBLIOGRAPHY

APPENDIX

Appendix 1 Nexus Script

Appendix 2 Poster of Nexus

Appendix 3 Photograph of Nexus Filmmaking

Appendix 4 Photograph ofNexUs Production

30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page

11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8

11 Kenji Mizoguchi win the Kinema Jumpo Awards 8

22 Durations ofLong take in the Life ofOharu 21

32 Analysis duration of Long take in the Life ofOharu 27

xii

LIST OF FIGURES

Figure Page

10 The Life ofOharu (1952) Figure illustration 4

16 Conceptual Framework 7

41 Introduction of Nexus Titled and Main Character 30

42 Applying research (Long take) into Short Film (Nexus) 32

44 Production (Photograph) Nexus Filmmaking 34

xiii

Topic 1

Introduction

This research will study about Kenji Mizoguchi cinematographic style (Long Take)

through the analysis of the film The Life of Oharu This is because If the technique of long

tIlke not applied properly and carefully so that the scene will be bored This statemented was

supported by Mark Le Fanus quote below

When it does not work it can be boring and

aggravating

(Mark Le Fanu 2005 3)

First of all researchers would like to explain what is the definition of cinematographic

and style According to Encylopedia Cinematography means the art and technology of

motion-picture photography It involves the composition of a scene lighting of the set and

actors choice of cameras camera angle and also integration of special effects to achieve the

photographic images desired by the director Cinematography focuses on relations between

the individual shots and groups of shots that make up a scene to produce a films effect

While according to Joyce M Hawkins (2001) style means speaking or writing style

style manner or style of doing something the shape To facilitate understanding of the Kenji

Mizoguchis cinematography style researchers first need to know a little bit about the history

of Japanese Cinema

Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first

to define what a long take is and then further specify what kind of long takes that this

thesi 11 discuss

1

According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy

arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The

ItlIce is a term that describes a film technique It is a tenn used in film studies David

-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art

and he further describes a long take as a single shot that runs for an unusually long

duration

In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about

his statemented that the long take is a kind of cinematographic technique and not a theory in

filmmaking However this technique (long take) have a different approach and different

dw-ations than the usual technique

Furthermore The tenn of long take is used also to avoids the ambiguous meanings of

long shot which can refer to the framing of a shotand long cut which can refer to either a

whole version ofa film or the general editing pacing of the film However these two tenns

are sometimes used interchangeably with long take

Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the

best and full of appreciation of the concept of Mizoguchis long take Through the film The

Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)

reinforces the effect of using long take techniques that show every act of O-Haru

Allowed life to speak itself (Shinoda I 969b )

Through the Kenji Mizoguchis context he uses the long take as a medium to convey

the reality ofa scene through the film The Life of Oharu The long take is used so the

1 8IU(1Ilenle could see it as the view of a scene in real life

2

I

In addition researchers also pointed out that the main purpose of using long takes is

Kenjis tried to show a real life through a single take Other than that researchers also believe

~tbat kenjis never applied his long take technique without doing preparation properly The

quotation below by Shinoda clearly supported this statement

Mizoguchis long takes combined with the

camera travelling at a leisurely pace with its Unhurried

gaze

(Shinoda 1969b)

Besides that researcher also agreed that Kenji Mizoguchis considered as a

revolutionary filmmaker This is so because every shot that his create have something to tell

Ithe audience through the combination of long take elements Each shot also made up of the

value oflife and to show how life is constantly exposed to various challenges Kenji

I ~ _g _L films also shows the behaviour of human life through the mise en scene This

-0 was supported by Mark Le Fanu (20053) in his quoted below

yet whether the long take is deployed constantly

throughout a film or whether it is used sparingly but

intelligently it seems able to bring something to the

possibility ofcinema ofwhich others form ofmis en scene

are capable (Mark Le Fanu (2005 3))

Based on the statement above the researcher founds that the mise-en-scene is one of

~ - r ILGIIl part of the application of long take technique This is because the technique long

~ would not be complete ifit is not accompanied by the mise en scene

3

J

The Life of Oharu (1952) Figure Illustration

FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4

Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK

The figure I until 6 shows some figure example in the film The Life OfOharu that has

used technique of long take The camera are static and was taken with a long duration to

our eyes enjoy the scene without disturbed with any cutting in the middle of action

Therefore this study will be more focused on the discovery and identification about

PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied

Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi

reh Background

Why Kenji Mizoguchi

Before that researcher glad to write about some of Kenji Mizoguchi biographies in

part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death

24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song

HomeiFurusato no Uta on 1925 While the last film he was direct is Street of

MamelAlUrsen Chitai on 1956 same year with his date of death As additional

bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna

BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)

Researcher personally believe that film Life of Oharu is the one of the best

iitizOg1lLChis films are ever made The films basically delivered the story about womens life

asked the people in understanding their life through the long take From this statement

supported the researcher factors to continue studying about Kenjis cinematographic

in the Life of Oharu This statement also was support by Anastasia (2010) in quoted

For thi is one ofMizoguchi s best films (Anastasia April 3 2010)

5

MJzogachi rum list by year of production

1 The SongofHomeFurusato no Uta (1925)

2 Tokyo MarchlIokyo Koshinkyoku (1929)

3 Home TownFurusato (1930)

4 The Water MagicianiTaki no Shiraito (1933)

5 The Downfall ofOseniOrizuru Osen (1935)

6 Oyuki MadonnaMaria no Oyuki (1935)

7 PoppyGubijinso (1935)

8 Osaka ElegylNaniwa Ereii (1936)

9 Sister ofthe GioniGion no Shimai (1936)

10 The strait ofLove and HateAien Kyo (1937)

II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)

12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)

13 Musashi MiyamotoMiyamoto Musashi (1944)

14 The Famous Sword BijomarulMeito Bijomaru (1945)

15 The Victory ofWomenJosei no Shori (1946)

16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)

17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)

18 Women ofthe NightlYoru no Onnatachi (1948)

19 My Love Has Been Burning Waga Koi Wa Moenu (1949)

20 A Picture ofMadam YukilYukiFuin Ezu (1950)

21 Miss OyuOyusama (1950)

22 The Lady From MusashinoMusashino Fujin (1951)

23 The Life ojOharuiSaikaku lchidai Onna (1952)

24 Tales ofthe Watery MoonUgetsu Monogatari (1953)

25 Gion Festival MusiciGion Bayashi (1953)

6

26 Sansho the BaillifSansho Dayu (1954)

27 The Woman ofRumourlUwasa no Onna (1954)

28 Crucified LoverslChikamatsu Monogatari (1954)

29 The Empress Yang Kwei FeilYokihi (1955)

30 Tales ofthe Taira ClaniShinheike Monogatari (1955)

3 Street ofShamelAkasen Chitai (1956)

IMillOlltUIIld of The Life of Oharu by Hal Erickson

The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged

rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her

Her road to degradation began when as a teenager she disgraced her family by falling

love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her

after she bore his son She was then sold into prostitution by her father and thus began a

1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely

and servitude to those she despised A potential happy ending reuniting her with her

son is dashed by the much-maligned Oharu herself who opts for the life of a beggar

jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women

ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)

Kenjis achievement since he involved into film industries will shows in the tables

page

7

1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film

~fvDlonly

wee FUm Festival

Year Result Awarded Recipient

1956 Nominated Golden Lion F or Street of Shame

1955 Nominated Golden Lion F or Princess Yang K wei -F ei

1954

Won Silver Lion

For Sansho The Bailiff

Nominated Golden Lion

1953

Won Silver Lion For Ugetsu

I

Nominated Golden Lion For The Adultress amp Ugetsu

1952

Won International awarded

For The Life Oharu Nominated Golden Lion

Kinema Junpo Awards

Year Result Award Recipient

1937 Won Best Film I For Sisters of the Gion (1936)

Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards

Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The

Crucified Lovers (1954)

8

In the table one the columns that had been highlighted to show that the film studied

the researcher had been won the Silver Lion awards and also nominated for Golden Lion

at Venice Film Festival 1952 This is the main reason why the researcher chooses to

The Life Oharu to complete this studied

Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the

lalee technique in this world This statement is supported by Mark Le Fanu in his

Mizoguchi is perhaps the greatest master ever ofmethod

of shooting known as extended sequences or long-take

composition the very methodcoincidentliy that is the

signature of many of the most interesting contemporary

film directors


In tenns of film study there is something we can learn from Kenji Mizoguchi style

cuIJ his long take technique This is so because we can learned how Kenjis combined

elements of long take with the great method to produce a great films like the Life of

(1952) His film has something like power to make people realize about what life it

This statement also supported by quatation below

Nearly fifty years after his death it appears that his

cinema still has something to teach us Partly this is a

spiritual apprehension (as it also is with Ozu

surely) They shake and move the viewer by the power

9

refinement and compassion with which they confront

human suffering (Mark Le Fanu 2005 pg 3)

The quotation above clearly explains and supported why researcher chosen to study

ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of

1952 particularly

ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a

will control the content of the book he produced while a film director controls the film

produced Lloyd Kaufmans statements clearly support that each director of the film

bull own cinematographic technique in producing a film Researchers however still

_leIUlg how long take techniques can be related to realism

1IIIeardl Questions

The research question is a question which has arisen in this study Researchers want

the existing problems in this study is How the long take techniques can help in

IiveIrtDR elements of realism in a film

tftb Objective

The objective of this study is things that become the main direction for researchers to

research Studies on a cinematographic technique is a very general because there are

1eW things to be found and studied in detail Therefore the researchers want to limit

10


BORANG PENGESAHAN STATUS TESISLAPORAN

JUDUL Kenji Mizoguchi Cinematographic Style (Long Take) In The Life OfOharu

(1952)

SESI PENGAJIAN 200912013

Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011

mengaku membenarkan tesisl Laporan ini disimpan di Pusat Khidmat Maklumat

Akademik Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut

1 Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak


membuat salinan untuk tujuan pengajian sahaja


membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan


membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi

pengajian tinggi

5 sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan6middotD SULIT atau kepentingan seperti termaktub di dalam AKTA

D RAHSIA 1972)TERHAD

(mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan)

V ~IDAK TERHAD

Disahkan

Disahkan Oleh

cdt~f bull

Tandatangan Penyelia

Tarikh tL~ 1~ ~ l3 Tarikh ~I O-=l4l ~ Alamat Tetap Kg Pamilaan Peti Surat 12989908 Tenom Sabah Mobil Jefri ~ samareoa

faculty ofApplie4 aM CrcallVe

LectIlU

Catatan Tesis Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah~a Muda bull lika Tesis Laporan SULIT atau TERHAD sila lampirkan surat daripada pihak berkuasal

organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD

Tandatangan Penulis








Date r1 7011

ii



OHARU(1952)






2013

iii



iv

I

ACKNOWLEDGEMENT











v

ABSTRACT


OHARU (1952)

I~









vi

ABSTRAK












vii



Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V




LIST OF TABLES XlI


viii

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10








Date r1 7011

ii



OHARU(1952)






2013

iii



iv

I

ACKNOWLEDGEMENT











v

ABSTRACT


OHARU (1952)

I~









vi

ABSTRAK












vii



Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V




LIST OF TABLES XlI


viii

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10



OHARU(1952)






2013

iii



iv

I

ACKNOWLEDGEMENT











v

ABSTRACT


OHARU (1952)

I~









vi

ABSTRAK












vii



Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V




LIST OF TABLES XlI


viii

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10



iv

I

ACKNOWLEDGEMENT











v

ABSTRACT


OHARU (1952)

I~









vi

ABSTRAK












vii



Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V




LIST OF TABLES XlI


viii

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10

ACKNOWLEDGEMENT











v

ABSTRACT


OHARU (1952)

I~









vi

ABSTRAK












vii



Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V




LIST OF TABLES XlI


viii

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10

ABSTRACT


OHARU (1952)

I~









vi

ABSTRAK












vii



Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V




LIST OF TABLES XlI


viii

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10

ABSTRAK












vii



Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V




LIST OF TABLES XlI


viii

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10



Table of Contents

APPROVAL LETTER

APPROVAL SHEET ii

PROJECT TITLE iii

DEDICATION IV

ACKNOWLEDGMENT V




LIST OF TABLES XlI


viii

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10

I


10 Introduction





15 Research Scope


17 Limitation


20 Introduction


211 Duration

212 Shot

213 Static

214 Movement

1-5

5-10

10

10

10-11

11-12

12-14

15

16-17

18

18

18

19

20

ix

I


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10


22 1 Duration


223 Theme (Realism)

I I


30 Introduction



321 Long Take

322 Mise- en-scene




I

20

20-21

21-22

22-23

24

24-25

25

25

26-27

28

28

28-29

x


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10


40 Introduction

41 Synopsis


43 Pre-Production

44 Production

45 Post-Production

46 Finding

47 Project Weakness

48 Project Strenght


50 Conclusion

BIBLIOGRAPHY

APPENDIX





30

30

31-32

33

33-34

34-35

35

35-36

37

38-39

40-43

xi

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10

LIST OF TABLES

Tables Page





xii

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10

LIST OF FIGURES

Figure Page






xiii

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10

Topic 1

Introduction






aggravating











of Japanese Cinema



thesi 11 discuss

1






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10






duration

















2

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10

I







gaze

(Shinoda 1969b)















3

J


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10


FIGURE 2

FIGURE 4

FIGURE 5 FIGURE 6

4








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10








reh Background

Why Kenji Mizoguchi














5



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10



























6



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10



















page

7


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10


~fvDlonly

wee FUm Festival




1954

Won Silver Lion



1953


I


1952



Kinema Junpo Awards






8











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10











film directors











9





1952 particularly






1IIIeardl Questions




tftb Objective




10





1952 particularly






1IIIeardl Questions




tftb Objective




10

kenji mizoguchi cinematographic style in 'the life …...~tbat kenji's never applied his...

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