Free-floating Intensity, Attraction, and Failure: Ishii Sôgo / Gakuryû at the Shifting Center of the Film Industry of Japan
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Sogo Gakuryû (formerly Sogo Ishii) has been at the center of three transformative moments for the film industry of Japan. In 1978 the major studio Nikkatsu re-made his 8mm jishu (self-produced) film KôkôDai-Panikku (Panic at High School, 1976). In 1982, Ishii joined the newly formed Director's Company, an attempt by eight directors from all sections of the film world including the studio system, Pink Film, and jishu-film that aimed to tip the power balance within the rapidly changing industry towards the director. In 1992 Ishii teamed up with producer Takenori Sento of the satellite broadcaster Wowow to change the way films in Japan were financed and distributed. This paper analyzes the textual and extra-textual aesthetic properties that made Ishii compatible with the film industry at different transitional points since the 1970s.
Abstract
Sogo Gakuryû (formerly Sogo Ishii) has been at the center of three transformative moments for the film industry of Japan. In 1978 the major studio Nikkatsu re-made his 8mm jishu (self-produced) film KôkôDai-Panikku (Panic at High School, 1976). In 1982, Ishii joined the newly formed Director's Company, an attempt by eight directors from all sections of the film world including the studio system, Pink Film, and jishu-film that aimed to tip the power balance within the rapidly changing industry towards the director. In 1992 Ishii teamed up with producer Takenori Sento of the satellite broadcaster Wowow to change the way films in Japan were financed and distributed. This paper analyzes the textual and extra-textual aesthetic properties that made Ishii compatible with the film industry at different transitional points since the 1970s.
참고문헌 (1)
- Television, "Production Culture: Industrial Reflexivity and CriticalPractice in Film", pp.2008, Caldwell, John