It derives from a passage in the book's preface describing "a night with a misty moon after the rains", and references a Noh play, also called Ugetsu, which also employs the common contemporary symbols of rain and moon. The word Ugetsu is a compound word u ( 雨) means "rain", while getsu ( 月) translates to "moon". Kenji Mizoguchi's award-winning film Ugetsu (1953), credited with helping popularize Japanese cinema in the West, was adapted from two of the collection's stories. Largely adapted from traditional Japanese and Chinese ghost stories, the collection is among the most important works of Edo period (1603–1867) and kaidan literature, and is considered a predecessor of the yomihon genre. It is the best known work of Japanese author Ueda Akinari. Ugetsu Monogatari ( 雨月物語, Tales of Moonlight and Rain) is a collection of nine supernatural tales first published in 1776. The cover of the fourth edition published by Shichiro Kawachiya Inside the fourth edition The following is the list of top ten films that appealed to Andrie Tarkovsky.This article is about the book. It is written by the film critic Leonid Kozlov. The following is the article that I found on. His comments on these directors and their influence on him made me curious to know if there were other lists that Tarkovsky gave. Ingmar Bergman – for his numerous lessons on film-making.His skill of being completely free within his own creations. Sergei Parajanov – His way of thinking appealed to Tarkovsky.He is the farthest that any French director has ever gone to. He said that Vigo found on the shores that which was there before the French new wave came. Jean Vigo – Tarkovsky considered Vigo to be the father of modern French cinema.He mentions the film “Pale Moon Tales by Fellini” but I think he may have been referring to “La Dolce Vita (1960)” There is practically no action in Antonioni’s films particularly in “L’Avventura or The Adventure (1960)”. He says that action in cinema is rather conditional. Michelangelo Antonioni – for showing him the meaning of action in cinema.The kind of simplicity that was achieved by Bach in Music, by Leonardo in Painting, by Tolstoy in Writing. Robert Bresson – for his simplicity and aesthetics.Alexander Dovzhenko – for his films, particularly “Earth or Zemlya (1930)” is a miracle from the silent era.The following are the directors and films he said he would like to thank. In the documentary there is a scene where Tonino Guerra (his co-scriptwriter for Nostalghia) asks him a few questions on behalf of his fans. And from my understanding and work experience as a filmmaker, I have come to realize that it is very true.Īnyways, so I got hold of this documentary on Andire Tarkovsky titled “Voyage in Time”. He says film making is actually capturing time. And therefore he points towards the importance of time in film-making. Cinema should aim to create something that no other art form can. In his book “ Sculpting in Time”( that I am currently trying to finish reading) he talks about how Cinema should not try to imitate music or theater or any other art form. It reminded me about the way Andrie Tarkovsky talks about cinema. It talks about how time is one of the key elements of the art of cinema. It talks in very simple language about the devotional power of cinema. Recently I finished reading the tiny book “Devotional Cinema” by Nathaniel Dorsky.
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