Legacies of Hani Susumu’s Documentary School
Centeno Martin, Marcos Pablo (2019) Legacies of Hani Susumu’s Documentary School. Arts 8 (3), p. 82. ISSN 2076-0752.
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Abstract
This article seeks to cast light on some of Hani Susumu’s theoretical and practical contributions to post-war Japanese documentaries. The article will also show how he created a documentary school at Iwanami Eiga based on authors’ closeness to the filmed object. This is crucial in order to understand the tendencies that developed in non-fiction films from the late 1950s. Hani’s influence can be seen in the leaders of militant cinema, Tsuchimoto Noriaki and Ogawa Shinsuke, who were trained at Iwanami Eiga. However, some of his theoretical writings, together with his documentary films Hōryūji (1958) and Gunka Ken 2 (1962), reveal how his singular subjective realism is applied to unusual shooting objects, landscapes. This article assesses this lesser-known aspect of Hani’s work and its links to certain developments in Japanese documentary films led by other filmmakers, such as Teshigahara Hiroshi and Adachi Masao, which have not yet been addressed.
Metadata
| Item Type: | Article |
|---|---|
| Additional Information: | Special Issue "Developments Japanese Documentary Film" edited by Centeno, Marcos and Raine, Michael |
| Keyword(s) / Subject(s): | Hani Susumu, avant-garde documentary, new Left, Teshigahara Hiroshi, Adachi Masao, subjectivity, landscapes |
| School: | Birkbeck Faculties and Schools > Faculty of Humanities and Social Sciences > School of Creative Arts, Culture and Communication |
| Research Centres and Institutes: | Birkbeck Interdisciplinary Research in Media and Culture (BIRMAC) (Closed) |
| Depositing User: | Marcos Pablo Centeno Martin |
| Date Deposited: | 06 Apr 2020 09:50 |
| Last Modified: | 09 Aug 2023 12:48 |
| URI: | https://eprints.bbk.ac.uk/id/eprint/31550 |
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