Exhibition/event has ended.
Retrospective in Memory of Shohei Imamura and Kazuo Kuroki
National Film Archive of Japan
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Artists
Shohei Imamura, Kazuo Kuroki
Born in 1926, Shohei Imamura began his career joining Shochiku Ofuna Film Sudio in 1951, moving to the Nikkatsu Company later on, where he worked as an assistant for Yasujiro Ozu and Yuzo Kawashima. After his debut as a producer for "Stolen Desire", he started to garner a reputation for his chaotically energetic movies including "Big and Battleships" (1961), "The Insect Woman" (1963), and "Unholy Desire" (1964). His films are highly praised nationally and internationally for their dramatic depiction of instinctive desires triggering the dark side of human beings. After he established his own production studio, he explored movies, documentary films and even television dramas. He was awarded twice at Cannes Film Festival with "The Ballad of Narayama" (1983) and "The Eel" (1997).
Kazuo Kuroki was born in Mie prefecture in 1926, and joined the Iwanami Film Production Studio in 1954. Sharply depicting human identity isolated from society, his movies hold critical messages relevant to his background in documentary film production. In "Tomorrow" (1988), he focused on the lives of the masses under the influence of the Pacific War, and this spirit was carried through until his last movie "The Youth of Kamiya Etsuko".
Imamura and Kuroki have different styles, yet they have a lot in common: they both emerged during the golden age of the Japanese film industry, starting a revolt in its growing system; they both worked in documentary and fictional films, and both created works about social minorities and victims of war. A total of 43 works made by these significant film directors - until around 1990 - is being screened.
Please refer to the museum website for more details and a schedule of film screenings.
Kazuo Kuroki was born in Mie prefecture in 1926, and joined the Iwanami Film Production Studio in 1954. Sharply depicting human identity isolated from society, his movies hold critical messages relevant to his background in documentary film production. In "Tomorrow" (1988), he focused on the lives of the masses under the influence of the Pacific War, and this spirit was carried through until his last movie "The Youth of Kamiya Etsuko".
Imamura and Kuroki have different styles, yet they have a lot in common: they both emerged during the golden age of the Japanese film industry, starting a revolt in its growing system; they both worked in documentary and fictional films, and both created works about social minorities and victims of war. A total of 43 works made by these significant film directors - until around 1990 - is being screened.
Please refer to the museum website for more details and a schedule of film screenings.
Schedule | Apr 17 (Tue) 2007-Jun 10 (Sun) 2007 Opening Hours Information
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| Fee | [Film] Adults ¥520; University and High School Students, Seniors 65 & Over ¥310; Junior High and Elementary School Students ¥100 [Exhibitions] Adults ¥250; University Students ¥130; Seniors 65 & Over, High School Students and Under free. | ||||||
| Venue | National Film Archive of Japan https://www.nfaj.go.jp/english/  | ||||||
| Location | 3-7-6 Kyobashi, Chuo-ku, Tokyo 104-0031 | ||||||
| Access | 1 minute walk from exit 1 at Kyobashi Station on the Ginza line, 1 minute walk from exit A4 at Takaracho Station on the Toei Asakusa line, 5 minute walk from exit 7 at Ginza-itchome Station on the Yurakucho line. | ||||||
| Phone | 050-5541-8600 (Hello Dial) |
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