by guest writer
Ugetsu Monogatari
By using his best known techniques, such as the long take, the long shot, the pan, a low-key photography and a special camera movement, Kenji Mizoguchi achieves a pictorial composition. The boat scene has been recognised as the most famous segment of the film. Visual elements are blended with distant audio drum beats and guns to emphasize the experience of war and the boundary between supernatural and natural. There is quite a resemblance between the “out of this world” lady Wakasa and the female Noh mask (Noh is a major form of Japanese musical drama used by male actors to impersonate both male and female roles). Mizoguchi’s shot-by-shot alternation provides us with the true identity of the dreamlike character Wakasa. Ugetsu Monogatari reinforces the representation of the rotating wheel as a constant cycle, transcending all human affairs.
photo: still from the film, production credits
sounds deep and meaningful, Ada. I must confess, I’ve never heard of that movie. I saw the soccer game of Romania and I’m glad I did
Happy Sunday evening and big hugs
Interesting techniques
Sounds lovely.
That photograph tells a story on its own.
Don’t need to say that this sounds pure art! In fact I believe the art house cinema term came to be known in this form with the introduction of Japanese films at festivals at the beginning of 1950’s. Your site is a treasure and has such an abundance in discoveries.
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