Welcome to Kinema Club
Welcome to the website of Kinema Club, a long-standing, international but informal group devoted to the study of Japanese moving image media. Kinema Club was started precisely to share knowledge about Japanese cinema, so this site serves both to introduce our activities, such as the KineJapan mailing list and our conferences and workshops, as well promote information and thinking about films, research, bibliography, and education.
Each of these three filmmakers represents a new generation in the history of Japanese cinema: Mizoguchi Kenji, master of the mobile long take whose career spanned the two Golden Age of Japanese cinema; Oshima Nagisa, leader of the aesthetically and politically radical Japanese New Wave; and Kitano Takeshi, new standard bearer for personal filmmaking...Read more
Using Relics to Gain Modern Revelations
In the age of digital video and $100 million movie spectacles, 8mm film must seem to most like a relic of the past. Super 8mm film was what people used in the old days before video to record baby’s first birthday party or junior’s graduation. Kids aspiring to be the next Hitchcock may have experimented with their dad’s 8mm...Read more
Digesting the Junk of Tokyo
Street fashion is still in. Teens walk through Shibuya in Tokyo with baggy pants, knit caps, cornrows and so on, assuming the same style as the home boys in the ‘hood. It’s cool to look the outlaw, to present oneself as an outsider within Japanese society.
A film like Iwai Shunji’s...Read more
Yamamoto Masashi, the director of Junk Food and such internationally acclaimed films as Carnival in the Night (“Yami no kanibary,” 1982) and Robinson’s Garden (“Robinson no niwa,” 1987), is still a student at the age of 42. And it is not just because he is...Read more
Distrust and disclosure
Japanese cinema of the 1980s was dominated by film adaptations of popular manga comic books. The affinity was natural given how deeply indebted manga is to the movies, but by the eighties, the comics were less feeding off of film than the other way around. In serious decline, Japanese cinema desperately latched onto its now more popular offspring for any ideas...Read more
1997 was certainly a year to remember for the Japanese cinema. Imamura Shohei’s The Eel (“Unagi”) and Kitano Takeshi’s Hana-Bi captured grand prizes at two of the world’s top three film festivals (Cannes and Venice respectively) and Miyazaki Hayao’s ...Read more
Kitano’s Inner Lives Bloom in ‘Hana-Bi’
After winning the coveted Golden Lion at last year’s Venice Film Festival for his new film Hana-Bi, Kitano Takeshi boasted of his exploit to the sports papers in typical Beat Takeshi fashion: “I am the master!”
The statement was certainly the kind...Read more
A ‘Cure’ for Repression
They give him their usual answers–school...Read more
A Stolen Gun Links Murder and Love
In only the year and a half since exploding on to the feature film scene with his shocking portrait of alienated youth, Helpless (1996), the prolific Aoyama Shinji has already turned out three more movies,...Read more
Spiritual Aims and Worldly Choices
Launched to commemorate Nikkatsu’s return to production after surviving bankruptcy proceedings, To Love recalls elements of the rich tradition of Japan’s longest running film company (since 1912, to be exact).
Not only do we enjoy seeing the faces of such old Nikkatsu stars as...Read more