[KineJapan] On a silent film, and a JCP debate w Kurosawa

[Roger Macy]

 Anne, alas,  I've only got a question on your question 1.
Is there anything in the context that would say the film in question is definitely Japanese, or the reverse ??
Roger

    On Sunday, 28 August 2022 at 23:49:51 BST, Anne McKnight via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Hi everyone~
As some of you know, I have been working on a translation project involving Kurosawa Akira’s taidans and essays. I’ve run into a couple of references that have stumped me—one on a silent film narrated by Tokugawa Musei, and one on a debate he, apparently, got into with a JCP member at some unspecified time.
I would be curious if either of these items ring any bells…IDs or larger contexts.
a) here is the passage in a Kurosawa essay (or, more precisely, his daughter’s ventriloquization of his voice from memoirs, conversations, ephemera, etc.). Does this sound vaguely familiar? It is always possible it is a mis-remembered account, of course…though the gothic and perhaps Expressionist scent is strong...

Musei-san, like other benshi, was in charge of coordinating the accompaniment as well as the narration of the film. For instance, this is how one film went. A drunken guy approaches the sumptuous house of a wealthy man, carrying another man, and asks if the rich man will let the man on his back [?] spend the night, and leaves him. Musei doesn’t say a peep during that part, no accompaniment whatsoever. As time passes, the man keeps not waking up, and just as the rich man waves his hands [?] to revive the man he thinks is sleeping, Musei suddenly lets out a scream—kyaaa~~: the tragic cry of the man who discovers that the body lying underfoot belongs to his own son. Then the accompaniment suddenly begins, and the scene switches over to a lively carnival. Musei’s staging was incredibly skillful. I learned a lot from these productions, and spectators were really trained to watch films by Musei-san’s way of looking at things. For movie fans, Musei-san played the role of a guide. That’s just the kind of ideal movie theatre I want to create. (This is kind of long and I think the English description can suffice.)


b) Kurosawa (him, actually, this time) makes reference to some sort of debate he got into with a JCP person. The essay is 1993, so it could have been at any point in the middle or late 20th century, though for obvious reasons, probably closer to the 50s-70s than the 1993 date of this essay. This one almost sounds like it might be related to JCP debates after people abandoned socialist realism—people like Abe Kobo or Hanada Kiyoteru. Does this “dispute” seem familiar to anyone, from film, art, or general debates about art and politics?

At onetime in Tokyo, the Japanese Communist Party had a lot of clout, and there was asplit between artists and artisans. There was one person who insisted that he was anartist, not an artisan, and I butted heads with him many times. In my view, thevery idea that you could skip over the craft of being an artisan to justdeclare yourself an artist is ridiculous.
一時、東京でも共産党が牛耳ってた時代があるけれども、そのときに、アルティストとアルチザン、つまり芸術家と職人というのでね、「俺はアルティストだ、アルチザンじゃない」という人がいて、僕はすごくやり合ったんです。職人を突き抜けて芸術になるんであって、職人ではない芸術家なんてないんだ、と。

If anything occurs to you, by way of intuitions or resemblances, I would love to hear about it. Thanks for any leads!
Anne_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://mailman.yale.edu/pipermail/kinejapan/attachments/20220828/33b65877/attachment.html>