The Persistance of Modernity in Japanese Film Scores – Part 2 (Ozu’s Floating Weeds)

Click for Part 1. Asian Values and Floating Weeds (Music by Saito)[i] Ozu’s later films are perhaps more grounded in the traditions of the Japanese family unit.  Their drama comes from an apparent change in value systems (often a systematic change to more western values) or the opposite of this where characters are bound rigidly … Continue reading The Persistance of Modernity in Japanese Film Scores – Part 2 (Ozu’s Floating Weeds)

The Persistence of Modernity in Japanese Film Scores – Part 1 (Ozu, Tradition and Silent Film)

The Persistence of Modernity in Japanese Film Scores. Introduction The scores and music produced for Japanese cinema highlight a constant change of values within the country; a relationship rarely mirrored so accurately in the cinema of anywhere else.  Whereas the film scores of other countries can be looked at as a product of the trends … Continue reading The Persistence of Modernity in Japanese Film Scores – Part 1 (Ozu, Tradition and Silent Film)

Kwaidan – Masaki Kobayashi – (1964)

Thanks to films like Nakata’s Ringu and Shimizu’s Ju-On (The Grudge), Japanese horror is part of the popular pantheon of horrific cinema.  Many ghost films of the West borrow heavily from these two films but because of their enormous success, it seems that Kaiden (Japanese ghost stories) of the past are often overlooked for their more thrillingly modern counterparts. … Continue reading Kwaidan – Masaki Kobayashi – (1964)