Shinoda Masahiro

1. Shinoda Masahiro Nihilist Style

2. Shinoda Masahiro • Born in 1931, entered Waseda University and passed the exam at Shochiku. Imamura Shohei and Oshima Nagisa were his colleagues. He retired from filmmaking after Spy Sorge (2003)

3. Early Shinoda • The success of Oshima Nagisa’s Cruel Story of Youth (1960) • A ‘series’ of youth films labeled as ‘Shochiku Nouvelle Vague’ films by young filmmakers. • Most of them are poor imitations of Oshima’s. • Exceptions are …

4. Early Shinoda • Shinoda Masahiro (1931- ) and Yoshishige Yoshida (1933 - ) • Auteur and filmmakers with self-conscious styles

5. Early Shinoda • The debut film • One-Way Ticket for Love (1960) • About rock’n rollers and their nihilistic life styles with sensual imagery. • Commercial failure demoted him to assistant director.

6. Early Shinoda • Dry Lake (1960) - caricature of college students who are infatuated with the idea of revolution and subversive actions, and looking forward to a social turmoil that their terrorist activities might cause.

7. Early Shinoda • My Face Red in the Sunset (1961) - cartoon-like stories about alienated assassins. A corrupt construction company owner commission them to assassinate a journalist who is about to expose his ill-doings, but things get complicated when an assasin falls in love with the journalist.

8. Early Shinoda • Shochiku discontinued ‘Shochiku Nouvelle Vague’ and returned to the former production policy which targeted the female audience - family drama, humanist drama, melodrama and other genre films. • Yoshida, Shinoda remained in Shochiku unlike Oshima and Imamura. • Ideas, subjects, themes, scripts forced upon him. • While working in compliance with the demands of the studio, Shinoda was no longer innocent follower of the Shochiku tradition.

9. Early Shinoda • After the renovation in filmmaking through Shochiku nouvelle vague, which had previously influenced by French nouvelle vague, American film noir and European art cinema, there was no return to the former Shochiku style. • Loss of stylistic innocence and self-conscious stylization

10. Early Shinoda

11. Early Shinoda • Sharpening of aesthetic sensitivity, sophistication of representation methods and attempt of bold experimentation • Sensuous modernism

12. Painterly aesthetic composition in a widescreen (cinemascope) format

13. Painterly aesthetic composition in a widescreen (cinemascope) format

14. Symmetrical composition

15. Over the shoulder, off-screen composition

16. Chiaro-scruro (low-key lighting, high contrast) images

21. Reflected shadow

23. Extrem camera angles (particularly high angle)

26. Framing

27. Silhouetting

28. Frontal and profile shots

31. Frontal and profile shots

32. Telephoto shot (disappearance of depth)

34. Surrealistic and easthetic image

35. Swish pan (camera movement)

36. Early Shinoda • Montage (editing) • Jagged jump cuts • Ignoring the 180 degree rule • Theatrical long cut and cinematic rapid cut

37. Early Shinoda • Pale Flower (1963) - A hard-boiled Yakuza returns to the Tokyo underworld after three years in prison. He meets a mysterious, wealthy woman who hangs out in illegal gambling houses for excitement. They fall in love but their relationship is doomed.

38. Early Shinoda • Assassination (1964) - At the closing stage of the Tokugawa Shogunate, assassination became a disturbing political tool, a masterless samurai tries to prevent the outbreak of civil war, changing allegiances between the Shogunate and the Emperor.

39. Early Shinoda • Samurai Spy (1965) - odd (unusual) samurai film about three spy rings which are involved in mutual betrayals and bloodsheds. Empty in content but displays Shinoda’s visual bravura.

40. Shinoda after Shochiku • Double Suicide (1969) - extremely stylistic adaptation of Chikamatsu’s play, The Love Suicide at Amijima. Jihei, the merchant, is married and has two children, but is desperately in love with an up-market courtesan, Oharu.

41. Shinoda after Shochiku • Jihei’s infatuation brings to him and his family financial, marital and social ruin. Koharu is out of his reach when she was bought out by a wealthy merchant. This eventually leads to the double suicide.

42. Shinoda after Shochiku • Mixture of traditional theatre (bunraku / kabuki) and cinema; avant-garde theatre (Awazu Kiyoshi’s set design); ukiyo-e and cinema

48. Shinoda after Shochiku • Scandalous Adventures of Buraikan (1970) - at the time of the great social reform led by the Tokugawa Shogun, a group of outlaws, actors of a banned theatre troupe, and a corrupt monk rebel against the rigidity of the Shogunate.

49. Shinoda after Shochiku • The film is set during the time of puritan ‘Tempo Reform’ in which everything pleasurable was banned - the theatre, ukiyoe, novels, expensive meals, dolls, sweets, etc. Six actors from a theatre troupe, an eccentric monk and a useless fortune teller fight for the freedom of expression.

50. Shinoda after Shochiku • Silence (1971) - adapted from Endo’s novel, the film is about a Portuguese Jesuit missionary and the Japanese peasant converts, who were persecuted and forced to renounce their faith. Shot by Miyagawa Kazuo with rich pastel colours.