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<p class=MsoPlainText><span lang=EN-US>I totally agree with almost all you say
Markus, but almost... At least, in what have relation with my research in Ozu, <i>Banshun</i>,
Bordwell has not corrected the mistake he makes about the Noh play in the
middle of the film: it is <i>Kakitsubata</i> and not the one he says it is.<o:p></o:p></span></p>
<p class=MsoPlainText><span lang=EN-US><o:p> </o:p></span></p>
<p class=MsoPlainText><span lang=EN-US><o:p> </o:p></span></p>
<p class=MsoPlainText>Lorenzo J. Torres Hortelano<o:p></o:p></p>
<p class=MsoPlainText>Dpto. Comunicación Audiovisual I<o:p></o:p></p>
<p class=MsoPlainText>Universidad Rey Juan Carlos<o:p></o:p></p>
<p class=MsoPlainText><o:p> </o:p></p>
<p class=MsoPlainText>-----Mensaje original-----<br>
De: owner-KineJapan@lists.acs.ohio-state.edu
[mailto:owner-KineJapan@lists.acs.ohio-state.edu] En nombre de amnornes@umich.edu<br>
Enviado el: lunes, 08 de octubre de 2007 5:45<br>
Para: KineJapan@lists.acs.ohio-state.edu<br>
Asunto: Re: Bordwell Ozu reprint</p>
<p class=MsoPlainText><o:p> </o:p></p>
<p class=MsoPlainText>Michael and David both beat me to this. I guess I better
write <o:p></o:p></p>
<p class=MsoPlainText>something, but swiftly. The next film is starting in
minutes.<o:p></o:p></p>
<p class=MsoPlainText><o:p> </o:p></p>
<p class=MsoPlainText>I have to say, Bordwell's Ozu and the Poetics of Cinema
is one of the <o:p></o:p></p>
<p class=MsoPlainText>best books on a single director i can think of. I sense
that something <o:p></o:p></p>
<p class=MsoPlainText>clicked with David. Aside from the talents of both
director and author, <o:p></o:p></p>
<p class=MsoPlainText>I suspect David found a strange and strong affinity with
Ozu. Both love <o:p></o:p></p>
<p class=MsoPlainText>intricasy. Finding it in the world, in cinema, and
building it into <o:p></o:p></p>
<p class=MsoPlainText>their respective works. There is great power in these
close textual <o:p></o:p></p>
<p class=MsoPlainText>analyses. Many people had written on the major features
of Ozu's style <o:p></o:p></p>
<p class=MsoPlainText>at the time of his writing. However, no one had unpacked
the films with <o:p></o:p></p>
<p class=MsoPlainText>such care. I remained stunned at some of the analyses,
the way they <o:p></o:p></p>
<p class=MsoPlainText>uncover the spectacular and peculiar logic built into his
films. Aside <o:p></o:p></p>
<p class=MsoPlainText>from this, it is also one of best introductions to the
potentials of <o:p></o:p></p>
<p class=MsoPlainText>Bordwell's historical poetics. I have found many of the
criticisms of <o:p></o:p></p>
<p class=MsoPlainText>the book unconvincing, and often informed mostly by
unreasonable <o:p></o:p></p>
<p class=MsoPlainText>expectations for what someone like Bordwell can (or
should) do.<o:p></o:p></p>
<p class=MsoPlainText><o:p> </o:p></p>
<p class=MsoPlainText>So I:m proud that I have had a hand in keeping the book
alive. As David <o:p></o:p></p>
<p class=MsoPlainText>explains in his new introduction, which is definitely
worth reading, <o:p></o:p></p>
<p class=MsoPlainText>the book went out of print and no press was interested in
reviving a <o:p></o:p></p>
<p class=MsoPlainText>tome with some 500 images. We were, tho. Unfortunately,
some <o:p></o:p></p>
<p class=MsoPlainText>entrepeneurial netizen discovered the draft site and it
went public <o:p></o:p></p>
<p class=MsoPlainText>before we were ready. David had yet to write his introduction.
And <o:p></o:p></p>
<p class=MsoPlainText>there were ongoing discussions about what to do about the
photographs. <o:p></o:p></p>
<p class=MsoPlainText>This was Princeton's first book produced digitally, in
pay layout <o:p></o:p></p>
<p class=MsoPlainText>software. This helps explain why the images are so grainy
and hard to <o:p></o:p></p>
<p class=MsoPlainText>read. As you probably know, one impressive and precious
aspect of his <o:p></o:p></p>
<p class=MsoPlainText>publications are the images----frames snapped in an
analog fashion and <o:p></o:p></p>
<p class=MsoPlainText>not grabbed digitally. His original photos were of very
high quality, <o:p></o:p></p>
<p class=MsoPlainText>but you'd never know it from the book.<o:p></o:p></p>
<p class=MsoPlainText><o:p> </o:p></p>
<p class=MsoPlainText>So the new UM Center for Japanese Studies electronic
reprint has <o:p></o:p></p>
<p class=MsoPlainText>replaced all the images with high quality scans----David
went the extra <o:p></o:p></p>
<p class=MsoPlainText>mile and helped us with both the financing and actual
scanning of these <o:p></o:p></p>
<p class=MsoPlainText>materials and we are forever grateful for this help. We
also added <o:p></o:p></p>
<p class=MsoPlainText>color----why not? It's the internet and easy. On top of
all of this, we <o:p></o:p></p>
<p class=MsoPlainText>decided to play with a new interface developed by the
people in our <o:p></o:p></p>
<p class=MsoPlainText>library (the same office that has been collaborating with
Google for <o:p></o:p></p>
<p class=MsoPlainText>all these years). You will find tabs for each frame blow-up
to the side <o:p></o:p></p>
<p class=MsoPlainText>of each page. If you click the tab, a window will open
with a new <o:p></o:p></p>
<p class=MsoPlainText>interface allowing you to study the image at various
sizes. You can <o:p></o:p></p>
<p class=MsoPlainText>also download it, or any page, or the entire book for
that matter.<o:p></o:p></p>
<p class=MsoPlainText><o:p> </o:p></p>
<p class=MsoPlainText>I'd like to thank David Bordwell for allowing us to
republish his work <o:p></o:p></p>
<p class=MsoPlainText>and offer the book for free. It makes it all the easier
to return to, <o:p></o:p></p>
<p class=MsoPlainText>search a key word, and also to assign to classes on
Japanese cinema.<o:p></o:p></p>
<p class=MsoPlainText><o:p> </o:p></p>
<p class=MsoPlainText>Enjoy!<o:p></o:p></p>
<p class=MsoPlainText><o:p> </o:p></p>
<p class=MsoPlainText>Markus<o:p></o:p></p>
<p class=MsoPlainText><o:p> </o:p></p>
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