mizoguchi kenji n.
Download
Skip this Video
Loading SlideShow in 5 Seconds..
Mizoguchi Kenji PowerPoint Presentation
Download Presentation
Mizoguchi Kenji

Loading in 2 Seconds...

play fullscreen
1 / 43

Mizoguchi Kenji - PowerPoint PPT Presentation


  • 93 Views
  • Uploaded on

Mizoguchi Kenji. ‘ One-scene-in-one-shot ’ His visual style. Mizoguchi’s Visual Style (Montage). LONG-TAKE * Take = a single continuous recording Shot - Scene - Sequence *shot = the shortest unit of film which is continuously shown without interruption, that is, editing;

loader
I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
capcha
Download Presentation

PowerPoint Slideshow about 'Mizoguchi Kenji' - golda


An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript
mizoguchi kenji

Mizoguchi Kenji

‘One-scene-in-one-shot’

His visual style

mizoguchi s visual style montage
Mizoguchi’s Visual Style (Montage)
  • LONG-TAKE

* Take = a single continuous recording

  • Shot - Scene - Sequence

*shot = the shortest unit of film which is continuously shown without interruption, that is, editing;

*scene = a shot or a series of shots that comprise a single, complete event or action;

*sequence = a series of scenes which show related events, settings or stories

  • ‘One-scene-in-one-shot’; an entire action in a scene is shown in one shot
mizoguchi s visual style montage1
Mizoguchi’s Visual Style (Montage)
  • Why does Mizoguchi rely on long-take or insist one scene in one shot?

*Average Shot Length (ASL) = a cinemetrical measures; 5.9 second per shot in D.W. Griffith’s Intolerance and 2.5 seconds in American films made in 2007)

  • 22 seconds in Osaka Elegy, 33 seconds in Sisters of Gion, 57 seconds in Chrysanthemum, 92 seconds in The 47 Ronin, 29 seconds in Ugetsu
mizoguchi s visual style montage2
Mizoguchi’s Visual Style (Montage)

‘… the most precise and specific expression for intense psychological moments.’

Mizoguchi Kenji

  • Long-take is an effective way to create psychological tension
  • Though demanding for performers and cameramen
mizoguchi s visual style mise en sc ne
Mizoguchi’s Visual Style (mise-en-scène)
  • Expansive screen space
  • Continuous space created by fluid pan and traveling shots

(Oharu)

  • Skillful uses of on- and off-screen space
  • Off-screen space further indicated by repeated sound effects (e.g. Chrysanthemums)
mizoguchi s visual style mise en sc ne1
Mizoguchi’s Visual Style (mise-en-scène)
  • One of the great mise-en-scene directors along with Murnau, Ophüls, and Wells
  • Mise-en-scène = ‘staging’ (‘to put it in the scene’)
  • It includes all the elements placed before the camera or within a frame - actors, their performance, sets, props, make-ups, costumes, etc.
  • It also includes the way in which those elements are shown - visual arrangement and composition - lighting, camera angle, camera movement, shot size, lens choice, etc.
mizoguchi s visual style mise en sc ne2
Mizoguchi’s Visual Style (mise-en-scène)
  • Chiaro-scuro lighting - strong contrast between light and shade

(Rembrandt lighting - Mizoguchi learned western paintings when young.)

  • Atmospheric, moody and powerful images
mizoguchi s visual style mise en sc ne4
Mizoguchi’s Visual Style (mise-en-scène)
  • Mizoguchi’s chiaro-scuro cinematography

(e.g. Sansho the Bailiff)

mizoguchi s visual style mise en sc ne5
Mizoguchi’s Visual Style (mise-en-scène)
  • Long-shot (a camera view of a character or object from a distance)

(or no close-ups)

  • Related to long-take; the longer a take is, the more information needs to fill the screen, so that the viewer can spend more time seeing and contemplating on it. Long shot provides more information.
mizoguchi s visual style mise en sc ne6
Mizoguchi’s Visual Style (mise-en-scène)
  • The scene in Ugetsu where the heroine is dying in agony while the soldiers on the run squabble for pathetic rice balls for which they killed her.
  • A tragedy and human waste is staged in a long shot with multiple actions.
mizoguchi s visual style mise en sc ne7
Mizoguchi’s Visual Style (mise-en-scène)
  • REALISTIC and SYMBOLIC representation
  • Visual REALISM

Construction of sets,

designing costumes

finding locations based on meticulous historical research

mizoguchi s visual style mise en sc ne8
Mizoguchi’s Visual Style (mise-en-scène)
  • Sansho the Bailiff : The opening shot shows travelers walking across a river bed.
  • Its symbolic visual meaning retroactively becomes apparent as the film progresses.
  • Our life is a only journey-in-progress from eternity to another eternity.
realistic and symbolic representation
Realistic and Symbolic Representation
  • Symbolic meaning of water
  • Passage from one life to another
  • Passage separating this world from the other world
  • Repeated in many films by Mizoguchi
realistic and symbolic representation1
Realistic and Symbolic Representation
  • A canal separates Gion, a Kyoto pleasure district, where two sisters work as geisha and commercial its districts.
  • Water trade / ephemeral world / floating world
realistic and symbolic representation2
Realistic and Symbolic Representation
  • The lake Biwa separate a village from a large town
  • The lake Biwa also separates this world from the other
realistic and symbolic representation3
Realistic and Symbolic Representation
  • The world on reality and dream in OyuSama
  • Giving up the torrid triangular love, a woman lives like a recluse in a house near the Yodo River. Her former lover secretly visits her, but being no longer able to distinguish what he is seeing is real or not.
realistic and symbolic representation4
Realistic and Symbolic Representation
  • Water is an important motif in Lady of Musashino
  • Fleeting affairs between a married woman and a younger student
  • Water separates the mundane world and the dreamy world
mizoguchi s visual style mise en sc ne9
Mizoguchi’s Visual Style (mise-en-scène)
  • Frequent uses of sharply angled shot
  • Mizoguchi’s aesthetic choice
  • Composition inspired by traditional prints and scroll paintings
mizoguchi s visual style mise en sc ne10
Mizoguchi’s Visual Style (mise-en-scène)
  • POV from high in the air and looking down on a scene
  • High angle shot like the traditional Japanese painting
  • The beginning of Legend of the Taira Clan (Shin Heike Monogatari, 1955)
mizoguchi s visual style mise en sc ne11
Mizoguchi’s Visual Style (mise-en-scène)
  • Formal characteristics of composition and movement

DIAGONAL

Composition and movement

  • Mizoguchi’s aesthetic sensibility as a painter
mizoguchi s visual style mise en sc ne12
Mizoguchi’s Visual Style (mise-en-scène)
  • Diagonal compositions constructed from the lines of floor, ceiling, beam, and tatami are frequently seen in Mizoguchi’s films.
mizoguchi s visual style mise en sc ne13
Mizoguchi’s Visual Style (mise-en-scène)
  • Horizontal composition (examples)
  • Ozu preferred horizontal to diagonal
mizoguchi s visual style mise en sc ne14
Mizoguchi’s Visual Style (mise-en-scène)
  • NaruseMikio, follower of Ozu in his penchant for horizontal composition
mizoguchi s visual style mise en sc ne15
Mizoguchi’s Visual Style (mise-en-scène)
  • Painterly cinematography - composition and subdued colour scheme reminding of the ink painting
mizoguchi s visual style montage3
Mizoguchi’s Visual Style (montage)
  • Montage - editing
  • The same or similar visual motifs repeated in a film
  • Young Anju and Zushio breaking tree branches and collecting grass for a shelter. The similar scene with the same composition to be repeated later. Sansho the Bailiff
mizoguchi s visual style
Mizoguchi’s Visual Style
  • LONG TAKE, LONG SHOT, OFF-SCREEN SPACE, SOUND EFFECT, DIAGONAL COMPOSITION AND MOVEMENT articulate emotions, intensify drama, clarify meanings, provide aesthetic and formal pleasure.
  • The Life of Oharu
mizoguchi s visual style1
Mizoguchi’s Visual Style
  • Miraculous openings of The Tales of the Taira Clan