At the same time, we must acknowledge that Mizoguchi’s choice of white linen, rather than formal black, as well as Tanaka’s revisionist kimono, added a twist to the straightforward presentation of ethnic authenticity, even though very few, if any, Western spectators in Venice could tell those fine differences. Thus, producer and screenwriter Matsutaro Kawaguchi was approached by a young representative at Venice and sealed a contract for Ugetsu’s American distribution, even before the film officially received the prize.5.

Genjūrō becomes very enamored with Lady Wakasa and she convinces him to marry her. Moving between the terrestrial and the otherworldly, UGETSU reveals essential truths about the ravages of war, the plight of women, and the pride of men. It solidified Mizoguchi’s reputation within the international film circuit, following The Life of Oharu (1952), a Silver Lion winner of the previous year. Noël Burch, To the Distant Observer: Form and Meaning in the Japanese Cinema, Berkeley, University of California Press, 1979. ������޽�}yV����K���ˊ6�K����սj����K���{�V�_��'u�O��=�K6E�����5�6�}�-TQ�dr-$��P�|$S>~��8�)��/�&��3�~�&��6����z��o�a%��F?S�_�|O?ߨR��6�}g�{�$��6�R���1�[�_��>��QW�Y˜k��JX��Ռ����޿A[/}��0k�)\zH7���eQfy�nݲ@�R..� gN+i�7պ����Q�h����/q{�����fFLoA;gd61�M�m�;T�T$~�9*~k�`M�O��H�x�X��K�m@'�����y��|��릪�j�W�!5k Sound: Iwao Otani.

Miyagi gives her husband some hot sake as he warms by the fire.
At the market, the pottery sells very well.

x�\ۖ�F}�WL �Ґ�J��3N��D�xp�+y �î�>U�����`�Y:u.�\��Q����RE���t�ڶ�:|�>U���� The ‘federal model’ of film culture, like the United Nations or UNESCO, was envisioned in the aftermath of the disastrous consequences of nationalism during the Second World War by local (i.e. Art Director: Kisaku Ito.

[Country: Japan.

It is a ghost story and an example of the jidaigeki (period drama) genre, starring Masayuki Mori and Machiko Kyō. In the torturous process, a sarcastic allegory in which a man who called himself the ‘spirit of money’ parades with jingling noise of coins, and where Tobei and Ohama triumph in their respective worldly success as a warlord and a courtesan, was turned into the serious humanist drama we know today.6 The Japanese film mogul Masaichi Nagata, having produced Rashomon (winner of the 1951 Venice GrandPrix), clearly had his eye on another prize and on distribution contracts in Europe and North America in working on the Ugetsu project. Godard finely described another brilliant example of such bridging in Ugetsu: “Genjuro is bathing with the fatal enchantress who has caught him in her net; the camera leaves the rock pool where they are disporting themselves, pans along the overflow which becomes a stream disappearing into the fields; at this point there is a swift dissolve to the furrows, other furrows seem to take their place, the camera continues tranquilly on its way, rises, and discovers a vast plain, then a garden in which we discover the two lovers again, a few months later, enjoying a picnic. Most critics would agree, therefore, to place his style on the side of spatiotemporal continuity in opposition to montage in the taxonomy of film aesthetics.

The soldiers take the sword and his money. She tries to get it back but she is stabbed by a soldier in the struggle. Shortly thereafter, Genjūrō apologizes to his wife by her grave while the spirit of Miyagi narrates that her husband has finally become the man that she always wished he would become and tells him that she will always be with him.

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