[KineJapan] Bleach Bypass/Desaturated Color in 1950s Japanese Cinema

[Kyle Barrowman]

Hello, all. I have never responded to an e-mail here, so I am hoping that
this actually goes through correctly. I am currently editing an entry in
the EUP "ReFocus" series on Ichikawa and Daisuke Miyao is writing a chapter
on Ichikawa's work with Kazuo Miyagawa generally and their work on *Her
Brother *specifically. He would definitely be a good person to reach out to
about this (if he does not see this and respond himself). For a quick
answer, I do not know of this being utilized as early as the '50s or '60s
beyond *Her Brother*. If it helps, though, Ichikawa would do something
similar for his 1981 film *Lonely Heart*/*Kōfuku*, at which point he was
working with Kiyoshi Hasegawa. Kiyoshi Kurosawa also used it for his 2001
film *Pulse*/*Kairo*. And then there are tons of Hollywood films that have
used it since the 1980s. But again, Daisuke is the man your friend should
contact.

I hope that this helps.

Best,

Kyle

On Sat, Mar 23, 2024 at 3:28 PM William Carroll via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hello everyone,
>
> A friend of mine who is working on a project about bleach bypass and other
> similar color development processes that result in desaturated colors in
> global cinema. One film he's been looking at is Ichikawa Kon's *Her
> Brother/Ototo*, and came across the term "ginnokoshi" ("leaving silver").
> This isn't a phenomenon or term I've encountered looking at color in
> Nikkatsu films from that time period, but I was wondering if anyone was
> familiar with any desaturated color techniques being used in Japan in the
> 1950s and 1960s, or if there are any other prominent examples of people
> using them.
>
> Thanks,
> Will
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> KineJapan at mailman.yale.edu
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>
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