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    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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