More on Ozu

[Jonathan M Hall]

Thanks to Michael for the interesting additions to this thread.  Now, I 
assume there can be parodic substitutions and ontological iterations, 
as well. Or is the mode of address tied to its materiality?
Jonathan


On Jul 14, 2006, at 1:07 AM, Michael Raine wrote:

>  I'm pretty sure that Yamamoto Kikuo says this too. Sometimes I wish he
> would specify a bit more precisely what he means by "eikyo" (influence)
> instead of just piling up synonyms. Hon'an eiga may be the most common 
> but
> there are plenty of others. I just found another in my notes: 
> tsugihagi -
> the Japanese film as a "patch and mend" version of the original!
>
> By the way, Tom Lamarre has an interesting reading of Tanizaki on film 
> as a
> challenge to the Platonic distinction between original and copy in his
> recent Shadows on the Screen. Has anyone else read it? It might be
> interesting to look at that while thinking about remakes. Tanizaki 
> wasn't
> the first, of course; I think you can find a tension between 
> ontological
> substitution and parodic iteration in the earliest understandings of
> mimesis. It seems to me that a similarly paradoxical "cultural 
> mimesis" is a
> common response to geopolitical unevenness. Anyway...
>
> Michael
>
> -----Original Message-----
> From: Michael E Kerpan [mailto:kerpan at attglobal.net]
> Sent: Wednesday, July 12, 2006 6:57 PM
> To: KineJapan at lists.acs.ohio-state.edu
> Subject: Re: More on Ozu
>
> Although Desser linked "Make Way for Tomorrow" with "Tokyo Story" 
> (probably
> correctly), I would suggest that it is linked at least as closely with 
> an
> earlier Ozu film -- "Brothers and Sisters of the Toda Family".  While 
> this
> involves a widowed mother and a younger sister (instead of a mother and
> father), the tone of Todas (a bit one-sided and sometimes sarcastic) 
> and its
> plot structure are much more like McCarey's film than those of "Tokyo
> Story".
>
> Michael Kerpan
> Boston
>