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Shinoda Masahiro

Shinoda Masahiro. Nihilist Style. Shinoda Masahiro. Born in 1931, entered Waseda University and then Shochiku. Imamura Shohei and Oshima Nagisa were his colleagues. He retired from filmmaking after Spy Sorge (2003). Early Shinoda.

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Shinoda Masahiro

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  1. Shinoda Masahiro Nihilist Style

  2. Shinoda Masahiro • Born in 1931, entered Waseda University and then Shochiku. Imamura Shohei and OshimaNagisa 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 by young filmmakers labeled as ‘Shochiku Nouvelle Vague’ films. • Most of them are poor imitations of Oshima’s. • Exceptions are …

  4. Early Shinoda • Shinoda Masahiro (1931- ) and Yoshishige Yoshida (1933 - )’s films. • 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 assassin 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 and Shinoda remained in Shochiku unlike Oshima and Imamura. • Ideas, subjects, themes, scripts forced upon him. • Though 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 was previously influenced by French nouvelle vague, American film noir and European art cinema, there was no turn back to the former Shochiku style. • Loss of stylistic innocence and development of more 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, selective focus composition in a wide screen format

  16. Normal over the shoulder shot

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

  18. Symmetrical composition and chiaro-scuro lighting combined mise-en-scène

  19. Chiaro-scuro lighting and wide-screen composition with empty space on the right

  20. Chiaro-scuro lighting and wide-screen composition with empty space on the top of the screen

  21. Chiaro-scuro lighting and selective focus

  22. Reflected shadow

  23. Extrem camera angles (particularly high angle)

  24. Framing

  25. Silhouetting

  26. Frontal and profile shots

  27. Frontal and profile shots

  28. Telephoto shot (disappearance of depth)

  29. Surrealistic and easthetic image

  30. Swish pan (camera movement)

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

  32. Middle 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.

  33. Middle 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.

  34. Middle 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.

  35. 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.

  36. 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.

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

  38. 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.

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