Publicado por: Fingolfin en 13 Febrero, 2011, 02:41:31
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Publicado por: Fingolfin en 13 Febrero, 2011, 02:41:54
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The original kabuki tale Musume Dōjōji is one of the most famous dance-dramas of the genre. In this ancient legend, the young woman Kiyohime performs a series of dances that follow her character arc from innocence, through frustration, into her final transformation as a vengeful serpent/demon. The tale has many variants. Kihachirō Kawamoto faithfully adapted, in all its horror, the most common version as a puppet animation in Dojoji Temple (Dōjōji, 1979). In this version, Anchin is monk who is making a pilgrimage. The young maiden, Kiyohime, encounters him and immediately falls in love with him, but Anchin resists her charms. She transforms herself into a serpent and chases after him. Anchin seeks refuge at the temple of Dōjō where the monks hide him under their great bell. Kiyohime as the serpent/demon wraps herself around the great bell and with her fire heats the bell. When the monks finally lift the bell, Anchin has been burnt to a crisp.
In an interview with Yuki Mori, Ichikawa said that rather than just relaying the original story of Anchin and Kiyohime, he “wanted a more abstract and creative story of a young bell maker and a princess who helps him.” Ichikawa also takes a much more sympathetic view of Kiyohime transforming her from a vengeful female figure into one who is self-sacrificing. In this tale, Kiyohime becomes the central figure, with her dance becoming the climax of the film.
(http://i175.photobucket.com/albums/w151/steven_harrison/00-02-43.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-05-15.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-06-59.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-10-24.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-11-41.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-19-09.jpg)
Storyboard original:
(http://1.bp.blogspot.com/_YVVNyEFlWeM/TDfkkEBPNlI/AAAAAAAAGcs/lRmrRCITLpM/s1600/MusumeDojoji+Storyboard.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-05-15.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-06-59.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-10-24.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-11-41.jpg)
(http://i175.photobucket.com/albums/w151/steven_harrison/00-19-09.jpg)
Storyboard original:
(http://1.bp.blogspot.com/_YVVNyEFlWeM/TDfkkEBPNlI/AAAAAAAAGcs/lRmrRCITLpM/s1600/MusumeDojoji+Storyboard.jpg)
Entrevista con el director sobre la película:
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MORI: A Girl at Dojo Temple was made for an international audience, wasn't it?
ICHIKAWA: Yes. The army was making consolation films for southern countries at that time, and Toho was asked to make some of them. Toho thought that because it was a puppet film, assistant directors were more suitable to direct. Tacchan (Tatsuma) Asano and I were chosen.
MORI: Who chose A Girl at Dojo Temple?
ICHIKAWA: I did. We could choose anything. First I tried to make Ryunosuke Akutagawa's Hana, and I even started writing a scenario. I changed my mind and instead reinterpreted the classic Dojoji, because I thought it would be better for foreign audience to see something Japanese and gorgeous. I wrote the script with my friend Keiji Hasebe.
MORI: It wasn't just the story of Anchin and Kiyohime, in which a girl turns into a serpent. You were already trying to approach the original from a new perspective.
ICHIKAWA: Yes. I wanted a more abstract and creative story of a young bellmaker and a princess who helps him.
MORI: It is very interesting to watch the early development of your films' unique characteristics, such as extreme close-ups and long shots, effective usage of silhouette, and quick editing of short shots.
ICHIKAWA: I made Kiyohime's dance the film's climax. I tried elaborate lighting techniques to show the puppets. The puppet master was Magozaburo Yuki, the singer was Ichiro (later Ijuro) Yoshimura, and the shamisen player was Kisaburo Okayasu. All of them were sort of living national treasures. I had a great crew.
MORI: Did you like bunraku, the puppet joruri?
ICHIKAWA: Yes, I liked kabuki, too. I often used to sit in the upper gallery, because of my financial situation. (Laughs) Bunraku shouldn't be watched from far above though. It should be watched from the same level as the stage. Anyway, I went very often for study and for fun.
MORI: I am sorry that your debut film was not publicly shown.
ICHIKAWA: The film violated the censoring system of GHQ [General Headquarters of the American occupying forces]. Films whose scripts were not censored before shooting were not allowed to be publicly screened. We stated making A Girl At Dojo Temple before the war was over, and completed it in the fall of 1945. There was no such censor system when we started. So, A Girl at Dojo Temple was a victim of the war, so to speak. I was very sorry because that was my first drama, though it was a short.
I started shooting the second puppet film before the war was over. It was called I Became a Cat, Butt... (Neko niwa natte mitakeredo), an original animal story, in which a mouse turns into a cat. It was canceled because Japan Lost the war.
Más información: http://nishikataeiga.blogspot.com/2010/07/girl-at-dojo-temple-musume-dojoji-1945.html (http://nishikataeiga.blogspot.com/2010/07/girl-at-dojo-temple-musume-dojoji-1945.html)
Publicado por: Fingolfin en 13 Febrero, 2011, 02:52:40
Una maravilla que no deberíais dejar pasar.
Qué lástima que sean sólo 20 minutos y no 3 horas, porque es precioso.
Saludos OK
Publicado por: Reader en 13 Febrero, 2011, 03:25:17
Publicado por: maurazos en 13 Febrero, 2011, 09:29:27
¡Gracias, Fingolfin! OK
Publicado por: holleymartins en 13 Febrero, 2011, 11:17:56
Publicado por: garitero en 13 Febrero, 2011, 11:40:04
Publicado por: aguijon en 13 Febrero, 2011, 13:36:21
Gracias Fingolfin
Publicado por: Fingolfin en 17 Febrero, 2011, 15:18:17
:D
Publicado por: Janusz en 17 Febrero, 2011, 16:07:45
Y una curiosidad, ¿la marca inferior derecha es de un canal de televisión? De ser así, me gustaría mucho saber cuál, porque lo que han hecho por mi cinefilia ni en varias vidas podrá ser compensado...
Publicado por: pazguaton en 17 Febrero, 2011, 19:07:46
Publicado por: Reader en 17 Febrero, 2011, 19:54:31
Lo he visto más de una vez. Por ejemplo (uno de muchos): 25 pelis de Tai Kato en dvd, a precio barato el lote entero, y de distintas calidades técnicas (no ocultan que son avis). Luego buscas más información de dvds editados comercialmente en Japón y más de la mitad no están por ningún lado.
También hay gente que las distribuye por la red :)
Publicado por: hokusai_spain en 17 Febrero, 2011, 21:20:59
Publicado por: Janusz en 18 Febrero, 2011, 15:47:15
Publicado por: maurazos en 20 Febrero, 2011, 20:13:27
Por otra parte, no sé qué es lo que las autoridades yanquis verían de subversivo en esta obra como para censurarla... :-?
Voto "Obra maestra".
Saludos
Publicado por: Fingolfin en 20 Febrero, 2011, 20:28:22
Por otra parte, no sé qué es lo que las autoridades yanquis verían de subversivo en esta obra como para censurarla... :-?
La censura no fue por el contenido, sino por el procedimiento de rodaje. Cuando terminó la guerra, había que mandar a los yanquis el guión de la película y no se qué más para que ellos autorizaran el rodaje. Como en este caso ya estaba rodada antes de terminar la guerra, pero todavía no se había proyectado en ninguna parte, los americanos la prohibieron...
Después de más de medio siglo, si algo no ha cambiado, es que los dirigentes yanquis son igual de idiotas :P
Publicado por: pochutla en 14 Marzo, 2011, 20:44:00
Publicado por: Combustion Espontanea en 14 Marzo, 2011, 22:15:13
Publicado por: Sioner en 27 Mayo, 2011, 02:09:01
Edito: Son 4 las fuentes completas :punk: