The Japanese New Wave (ヌーベルムーグ, NÅ«beru bÄ gu) is a
group of loosely-connected Japanese filmmakers during the late 1950s
and into the 1970s. Although they did not make up a coherent movement,
these artists shared a rejection of traditions and conventions of
classical Japanese cinema in favor of more challenging works, both
thematically and formally. Coming to the fore in a time of national
social change and unrest, the films made in this wave dealt with taboo
subject matter, including sexual violence, radicalism, youth culture
and deliquency, Korean discrimination, and the aftermath of World War
II. They also adopted more unorthodox and experimental approaches to
composition, editing and narrative.The trend borrows its name from the
French Nouvelle vague, a concurrent movement that similarly scrapped
the established traditions of their national cinema. Unlike the French
counterpart, Japanese New Wave originated within the film studio
establishment in an attempt to invigorate local cinema (which was
being undermined by television productions) with new ideas from young
directors. Failing to thrive within the studio system, these
filmmakers eventually formed independent production companies. Most
notably, Art Theatre Guild significantly boosted the movement by
producing and distributing several of the most renowned New Wave
titles.David Desser in his Eros plus Massacre places the marginal
comment:Unlike the French nouvelle vague, the Japanese movement
initially began within the studios, albeit with young and previously
little-known filmmakers. The term was first coined within the studios
(and in the media) as a Japanese version of the French New Wave
movement. Nonetheless, the Japanese New Wave filmmakers drew from some
of the same international influences that inspired their French
colleagues, and as the term stuck, the seemingly artificial movement
surrounding it began to rapidly develop into a critical and
increasingly independent film movement.
group of loosely-connected Japanese filmmakers during the late 1950s
and into the 1970s. Although they did not make up a coherent movement,
these artists shared a rejection of traditions and conventions of
classical Japanese cinema in favor of more challenging works, both
thematically and formally. Coming to the fore in a time of national
social change and unrest, the films made in this wave dealt with taboo
subject matter, including sexual violence, radicalism, youth culture
and deliquency, Korean discrimination, and the aftermath of World War
II. They also adopted more unorthodox and experimental approaches to
composition, editing and narrative.The trend borrows its name from the
French Nouvelle vague, a concurrent movement that similarly scrapped
the established traditions of their national cinema. Unlike the French
counterpart, Japanese New Wave originated within the film studio
establishment in an attempt to invigorate local cinema (which was
being undermined by television productions) with new ideas from young
directors. Failing to thrive within the studio system, these
filmmakers eventually formed independent production companies. Most
notably, Art Theatre Guild significantly boosted the movement by
producing and distributing several of the most renowned New Wave
titles.David Desser in his Eros plus Massacre places the marginal
comment:Unlike the French nouvelle vague, the Japanese movement
initially began within the studios, albeit with young and previously
little-known filmmakers. The term was first coined within the studios
(and in the media) as a Japanese version of the French New Wave
movement. Nonetheless, the Japanese New Wave filmmakers drew from some
of the same international influences that inspired their French
colleagues, and as the term stuck, the seemingly artificial movement
surrounding it began to rapidly develop into a critical and
increasingly independent film movement.
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