Richie offers movie buffs and serious film students a lively, comprehensive overview of Japanese cinema from the end of the 19th century to the present. Updated DVD and VHS listings feature new releases, classic films, and reviews.

In this book, Donald Richie offers an insider's look at the achievements of Japanese filmmakers. He begins in the late 1800 when the incipient industry took its inspiration from the traditional stories of Kabuki and Noh theater, and finishes with the latest award-winning dramas showcased at Cannes. In between, Richie explores the roots and uniqueness of Japan's contribution to world cinema, illuminates the careers of Japan's rising stars and celebrated directors, and offers a fascinating view of the strategies and politics of the movie studios themselves. A selective guide in Part Two provides capsule reviews of the major Japanese films available in VHS and DVD formats, as well as those televised on standard and cable channels.

In A New History of Japanese Cinema Isolde Standish focuses on the historical development of Japanese film. She details an industry and an art form shaped by the competing and merging forces of traditional culture and of economic and technological innovation. Adopting a thematic, exploratory approach, Standish links the concept of Japanese cinema as a system of communication with some of the central discourses of the twentieth century: modernism, nationalism, humanism, resistance, and gender. After an introduction outlining the earliest years of cinema in Japan, Standish demonstrates cinema's symbolic position in Japanese society in the 1930s - as both a metaphor and a motor of modernity. Moving into the late thirties and early forties, Standish analyses cinema's relationship with the state-focusing in particular on the war and occupation periods. The book's coverage of the post-occupation period looks at "romance" films in particular. Avant-garde directors came to the fore during the 1960s and early seventies, and their work is discussed in depth. The book concludes with an investigation of genre and gender in mainstream films of recent years. In grappling with Japanese film history and criticism, most western commentators have concentrated on offering interpretations of what have come to be considered "classic" films. A New History of Japanese Cinema takes a genuinely innovative approach to the subject, and should prove an essential resource for many years to come.

The cinema of Japan predates that of Russia, China, and India, and it has been able to sustain itself without outside assistance for over a century. Japanese cinema's long history of production and considerable output has seen films made in a variety of genres, including melodramas, romances, gangster movies, samurai movies, musicals, horror films, and monster films. It has also produced some of the most famous names in the history of cinema: Akira Kurosawa, Hayao Miyazaki, Beat Takeshi, Toshirô Mifune, Godzilla, The Ring, Akira, Rashomon, and Seven Samurai. The Historical Dictionary of Japanese Cinema is an introduction to and overview of the long history of Japanese cinema. It aims to provide an entry point for those with little or no familiarity with the subject, while it is organized so that scholars in the field will also be able to use it to find specific information. This is done through a detailed chronology, an introductory essay, and appendixes of films, film studios, directors, and performers. The cross-referenced dictionary entries cover key films, genres, studios, directors, performers, and other individuals. This book is an excellent access point for students, researchers, and anyone wanting to know more about Japanese cinema.

The decade of the 1960s encompassed a "New Wave" of films whose makers were rebels, challenging cinematic traditions and the culture at large. The films of the New Wave in Japan have, until now, been largely overlooked. Eros plus Massacre (taking its title from a 1969 Yoshida Yoshishige film) is the first major study devoted to the examination and explanation of Japanese New Wave film. Desser organizes his volume around the defining motifs of the New Wave. Chapters examine in depth such themes as youth, identity, sexuality, and women, as they are revealed in the Japanese film of the sixties. Desser's research in Japanese film archives, his interviews with major figures of the movement, and his keen insight into Japanese culture combine to offer a solid and balanced analysis of films by Oshima, Shinoda, Imamura, Yoshida, Suzuki, and others.

This comprehensive look at Japanese cinema in the 1990s includes nearly four hundred reviews of individual films and a dozen interviews and profiles of leading directors and producers. Interpretive essays provide an overview of some of the key issues and themes of the decade, and provide background and context for the treatment of individual films and artists. In Mark Schilling's view, Japanese film is presently in a period of creative ferment, with a lively independent sector challenging the conventions of the industry mainstream. Younger filmmakers are rejecting the stale formulas that have long characterized major studio releases, reaching out to new influences from other media—television, comics, music videos, and even computer games—and from both the West and other Asian cultures. In the process they are creating fresh and exciting films that range from the meditative to the manic, offering hope that Japanese film will not only survive but thrive as it enters the new millennium.