{"id":3623,"date":"2018-07-03T14:04:05","date_gmt":"2018-07-03T05:04:05","guid":{"rendered":"https:\/\/www.waseda.jp\/inst\/sgu\/?p=3623"},"modified":"2018-07-03T14:08:07","modified_gmt":"2018-07-03T05:08:07","slug":"critical-conditions-theory-and-practice-in-masumura-yasuzo-and-yoshida-kiju-workshop-on-july-23","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/inst\/sgu\/news-en\/2018\/07\/03\/3623\/","title":{"rendered":"Critical Conditions: Theory and Practice in Masumura Yasuzo and Yoshida Kiju (Workshop on July 23)"},"content":{"rendered":"

At least since the Soviets, the question of the relation of theory and practice has long been of central importance in cinema. In the 1950s and 1960s there was another efflorescence in theoretically informed practice, when writers for Cahiers du Cinema <\/em>picked up the camera themselves.<\/em> The dynamic relations between theory and practice in Japanese cinema history, however has not been available to non-Japanese readers.<\/p>\n

In this presentation, Professor Earl Jackson of\u00a0University of California, Santa Cruz and National Chiao Tung University will look at the work of two Japanese directors who wrote extensively on their theoretical positions that informed their work:\u00a0 Masumura Yasuzo (\u5897\u6751\u4fdd\u9020\u00a0 1924-1986); and Yoshida Kiju \u5409\u7530\u559c\u91cd (1933-). Professor Jackson read Masumura as a kind of speculative sociologist \u2013 focusing on Japanese specificity without succumbing to Nihonjinron<\/em>. Yoshida articulates his interest in phenomenology in his writing, and realizes it on screen in a radical reconstruction of cinematic space. Finally, Professor Jackson will reflect on the radical difference between the two theorist-practioners in how Yoshida deconstructs melodrama while Masumura reinhabits it to enable the genre\u2019s signifying potential.<\/p>\n