Of all the world's cinemas, Japan's is perhaps unique in its
closeness to the nation's literature, past and contemporary. The
Western world became aware of this when Akira Kurosawa's Rashomon
was awarded the Grand Prize at the Venice film festival in 1951 and
the Oscar for best foreign film in 1952. More recent examples
include Shohei Imamura's Eel, which won him the Palme d'Or (Best
Picture) at Cannes in 1997.
From Book to Screen breaks new ground by exploring important
connections between Japan's modern literary tradition and its
national cinema. The first part offers a historical and cultural
overview of the working relation that developed between pure
literature and film. It deals with three important periods in which
filmmakers relied most heavily on literary works for enriching and
developing cinematic art. The second part gives detailed analyses
of a dozen literary works and their screen adaptations.
For many reasons, the works selected for comparison and study
all deserve cross-disciplinary analysis. For example, Ooka's Lady
Musashino and Mizoguchi's film adaptation of it study adultery as a
topic of great concern in postwar Japan. Even so, they differ
significantly in their modes of representation. Both Toson's Broken
Commandment and Ichikawa's film version investigate a difficult
social issue, the plight of the outcast; here again, writer and
director approach and interpret it in completely different
ways.
The author has written this book to help Western audiences see
Japanese films for what they are: universal in appeal, if sometimes
difficult to access thanks to differences as vast as Eastern and
Western culture. Now that our century of cinema is yielding to a
centuryof video, the need to bridge differences can only grow more
pressing -- and rewarding.
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