Mizoguchi Kenji


Mizoguchi Kenji
born May 16, 1898, Tokyo, Japan
died Aug. 24, 1956, Kyōto

Japanese film director.

After studying painting, he became an actor at the Nikkatsu studio in 1919 and made his debut as a director in 1922. His early films include Street Sketches (1925), Tokyo March (1929), Osaka Elegy (1936), and The Story of the Last Chrysanthemums (1939). His pictorially beautiful films, of which he made more than 80, often dealt with the conflict between modern and traditional values. He won international acclaim for Ugetsu monogatari (1953), an allegorical commentary on postwar Japan. He was also noted for his films about women, includingeThe Love of Actress Sumako (1947), Women of the Night (1948), and Street of Shame (1956).

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▪ Japanese director
born May 16, 1898, Tokyo, Japan
died Aug. 24, 1956, Kyōto

      Japanese motion-picture director whose pictorially beautiful films dealt with the nature of reality, the conflict between modern and traditional values, and the redeeming quality of a woman's love.

      In 1919, after he had studied painting and had spent a short time designing advertisements for the Kōbe Soshin Daily News in the city of Kōbe, Mizoguchi returned to Tokyo and became an actor at the Nikkatsu Motion Picture Company, in which, within three years, he was a director.

      His Gaitō no suketchi (1925; Street Sketches) and Kami-ningyo haru no sasayaki (1926; A Paper Doll's Whisper of Spring) presaged the rise of Japanese realism in the 1930s. Mizoguchi's outstanding films of the 1920s and '30s included Tōkyō koshinkyoku (1929; Tokyo March) and Tokai kōkyògaku (1929; Metropolitan Symphony), which considered contemporary social problems, and Gion no shimai (1936; Sisters of the Gion) and Naniwa ereji (1936; Osaka Elegy), films dealing with the rejection of traditional values by modern Japanese society.

      Zangiku monogatari (1939; The Story of the Last Chrysanthemums) initiated a long series of period dramas set in the Meiji period (1868–1912). The dramas filmed during World War II avoided controversial issues, but the ones made after the war became increasingly concerned with the problems of modern life. Ugetsu monogatari (1953), considered one of the finest of all Japanese films, is an outstanding example of Mizoguchi's period drama. Notable as a study of the nature of reality and for its sense of place created by carefully controlled camera movement, Ugetsu is an allegorical commentary on postwar Japan. Among Mizoguchi's postwar films are some of his most important dramas about women—e.g., Joyū Sumako-no-koi (1947; The Love of Actress Sumako), the biography of one of Japan's first emancipated women; Yoru no onnatachi (1948; Women of the Night); and Akasen chitai (1956; Street of Shame).

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Universalium. 2010.

Look at other dictionaries:

  • Mizoguchi Kenji — (jap. 溝口 健二; * 16. Mai 1898 in Tokio; † 24. August 1956 in Kyōto) war ein japanischer Regisseur. Biographie …   Deutsch Wikipedia

  • Mizoguchi, Kenji — ► (1898 1956) Director cinematográfico japonés. Intentó representar en sus películas una visión personal del hombre y de la sociedad. Películas: Vida de O Haru, mujer galante (1952) y Cuentos de la luna pálida de agosto (1953), entre otras …   Enciclopedia Universal

  • Mizoguchi Kenji — (16 may. 1898, Tokio, Japón–24 ago. 1956, Kioto). Director de cine japonés. Después de estudiar bellas artes, comenzó a actuar en el estudio Nikkatsu en 1919, y luego de tres años debutó como director. Entre sus primeras películas se cuentan… …   Enciclopedia Universal

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  • Kenji Mizoguchi — Données clés Naissance 16 mai 1898 …   Wikipédia en Français

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  • Kenji Mizoguchi — Mizoguchi Kenji Mizoguchi Kenji (jap. 溝口 健二; * 16. Mai 1898 in Tokio; † 24. August 1956 in Kyoto) war ein japanischer Regisseur. Biographie 1898 in …   Deutsch Wikipedia

  • MIZOGUCHI K. — MIZOGUCHI K. De son extrême jeunesse à l’année même de sa mort, Mizoguchi Kenji vivra par et pour le cinéma, au milieu des acteurs, se forgeant, à travers une œuvre à la fois continue – pas d’année sans film – et féconde (plus de quatre vingt dix …   Encyclopédie Universelle

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