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Review
"Yoshimoto's Kurosawa is destined to take its place along with the most important achievements of cinema studies, which is to say that it is a book about something more than cinema itself. Yet it offers a stimulating, running commentary on the films that makes one want to see them all over again, while also offering a new theory of auteurship as collective negotiation. This is a grand performance sustained by a voice of rare authority."--Fredric Jameson [*Note: We'll need to run this edit by him.] "A tour-de-force reading of Kurosawa's films. Yoshimoto adds greatly to current Kurasawa scholarship and to situating the construct 'Japanese Cinema' in a way that it has not been situated before."--[PERMISSION PENDING] [RR, PP, edited] E. Ann Kaplan, author of Looking for the Other: Feminism and the Imperial Gaze"[Yoshimoto's] primary concern, as an academic working in the United States, is with western criticism of Japanese cinema as it moved from humanism to structuralism, to post-structuralism and to postmodernism. His erudite and near-comprehensive book is about what we non-Japanese understand in the work of Kurosawa. He finds much of our understanding tainted because it views Japan and Japanese cinema in an exotic light... Yoshimoto's aim is to build up a detailed case that westerners do not understand Kurosawa. If we think we do, he implies, we are wrong, because we know so little of Japanese culture...He tries to help us by giving a full account of the context in which Kurosawa worked and in which his films were made. It is something of a crash course: cinema, theatre, society, politics, history and so on. His knowledge is encyclopedic and his scholarship impressive."--Mamoun Hassan, Times Higher Education Supplement, December 15 2000
Fredric Jameson
"Yoshimoto's Kurosawa is destined to take its place along with the most important achievements of cinema studies, which is to say that it is a book about something more than cinema itself. Yet it offers a stimulating, running commentary on the films that makes one want to see them all over again, while also offering a new theory of auteurship as collective negotiation. This is a grand performance sustained by a voice of rare authority."
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After having experienced two decades of rapid institutional expansion and consolidation, film studies is now facing a new challenge. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
After having experienced two decades of rapid institutional expansion and consolidation, film studies is now facing a new challenge. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews
Format:Paperback
I bought this as a present for my son who is seriously 'into film' and includes most of Kurasawa's DVDs among his extensive collection. He found the book highly academic in its approach and pretty impenetrable; he never finished it and sold it on eBay. Given that his shelves groan with the weight of books about Lumet, Hitchcock, Godard and many other great directors this was unusual. Not recommended for any but the most dedicated reader.
Format:Paperback
Why does Kurosawa look so seedy and disgusted on the cover? Clearly because he has just read this book. It is nothing but a rant, against anyone who has ever had the nerve to try to say anything about any kind of Japanese culture: they are all Imperialists and Fetishists (even scholars who are themselves Japanese). As for the films, there is very little actually said about them. Long meandering passages showing off the author's semi-knowledge of such things as Meiji theatre history, dwindling down into non-statements, innocent of any kind of supporting evidence whatsoever, about what Kurosawa may or may not have had in mind when he made the film. If anything. Sort of. Maybe. Not worth the money and certainly not worth the read. (There are also lots of English mistakes.) Give Kurosawa a break and read Stephen Prince.
0 of 1 people found the following review helpful
Format:Paperback
In my mind, the so far thoroughest examination of Kurosawas films and the state of the Japanese cinema system. Yoshimoto is a splendid analyst and a vibrant force on both japanese film genres and cinema and Kurosawa as a film maker. He continually juxtaposes between these whilst using other Kurosawa biographies as his sounding board. This makes for compelling reading and you can't help feeling a desire to visit or revisit some of Kurosawas many masterpieces.
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