<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><BR><DIV><DIV>On Jun 10, 2007, at 11:17 PM, <<A href="mailto:frannyandzoey@infoseek.jp">frannyandzoey@infoseek.jp</A>> <<A href="mailto:frannyandzoey@infoseek.jp">frannyandzoey@infoseek.jp</A>> wrote:</DIV><BR class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><BLOCKQUOTE type="cite"><P style="margin: 0.0px 0.0px 0.0px 10.0px"><FONT face="Hiragino Kaku Gothic Pro" size="3" style="font: 12.0px Hiragino Kaku Gothic Pro">Just a little question for mizoguchian specialists : a french critic,</FONT></P> <P style="margin: 0.0px 0.0px 0.0px 10.0px"><FONT face="Hiragino Kaku Gothic Pro" size="3" style="font: 12.0px Hiragino Kaku Gothic Pro">Jean Douchet, wrote some ten years ago that Mizoguchi's Yoru no</FONT></P> <P style="margin: 0.0px 0.0px 0.0px 10.0px"><FONT face="Hiragino Kaku Gothic Pro" size="3" style="font: 12.0px Hiragino Kaku Gothic Pro">onnatachi, released in 1948, was in some way influenced by italian</FONT></P> <P style="margin: 0.0px 0.0px 0.0px 10.0px"><FONT face="Hiragino Kaku Gothic Pro" size="3" style="font: 12.0px Hiragino Kaku Gothic Pro">neo-realism. But if I'm not wrong, and Oshima Nagisa confirmed that in</FONT></P> <P style="margin: 0.0px 0.0px 0.0px 10.0px"><FONT face="Hiragino Kaku Gothic Pro" size="3" style="font: 12.0px Hiragino Kaku Gothic Pro">his "taikenteki sengo eigaron", these italian movies had been all</FONT></P> <P style="margin: 0.0px 0.0px 0.0px 10.0px"><FONT face="Hiragino Kaku Gothic Pro" size="3" style="font: 12.0px Hiragino Kaku Gothic Pro">released in Japan from 1949 to 1950...</FONT></P></BLOCKQUOTE></BLOCKQUOTE><BR></DIV><DIV>Just an addendum: This is after the period you're asking about, but Imamura Taihei wrote a whole book on neo-realism in 1953. He notes that the postwar Italian cinema "shocked" Japanese filmmakers, but also that no one wrote anything but impressionistic criticism until his book. Unfortunately, he doesn't have anything to say about the relationship of neo-realism to Japanese cinema (making the book rather uninteresting). His main coordinate for thinking about neorealism is the pre-Stalinist Soviet cinema. </DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>Markus</DIV></BODY></HTML>