[KineJapan] 1929 Russian book: "Japanese Cinema" by Naum Kaufman

[Markus Nornes]

Dîna Iordanova write this fascinating note on a 1929 Russian book on Japanese film. I thought the Kinema Club crowd would like to read, so re-post with her blessing.
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Naum Kaufman’s JAPANESE CINEMA was published in the USSR in 1929, i.e. still during the NEP times of relative freedom. It is a brochure-length study of three chapters, discussing ‘The Viewer,’ ‘The Plots,’ and ‘The Production [set up].’ These take 70 pages, followed by a Sergei Eisenstein essay on matters of Japanese aesthetics. This was published on occasion of an exhibition that was organised by VOKS (All-Union Society for Cultural Relations with Foreign Countries) in 1929 and traveled across the USSR in the period 1929-1931, reaching as far as Uzbekistan. 
Eisenstein’s piece is translated in English and extensively discussed, whereas l am having trouble finding information on Naum O. Kaufman, who seems to be a truly competent film writer (he has published books also on American silent cinema stars). It is not clear how he researched for the Japanese cinema book. He is acknowledging assistance from E. Tarnavskaya, a Japanese specialist, but does not say if he traveled to Japan nor when or where he saw the films he discusses. My impression is that he is talking of first hand experiences. 
I found this a fascinating study. It acknowledges the effects of the 1923 Great Kanto earthquake but goes on in describing the lively entertainment culture of Asakusa, the specifics of Japanese genres, the star system. As well as the main studios and production specifics. He talks of Japan as a battlefield of fascinations — the bourgeoisie hypnotised by America on the one side and the intelligentsia and working classes, under the spell of Soviets on the other. There are repeated parallels to Soviet cinema, and laments that the Japanese colleague do not seem to know how to derive more benefit from the theory of Soviet montage. 
There are some twenty full-page illustrations, mainly promotional stills of actors. I am displaying here a photo of (Ichikawa) Momonosuke in the film ‘Kodana’ (?). It is Yoshiko Ogata, however, who is discussed the most, even if not pictured. She brings in the latest European fashions, and she is the one that seems to have suffered most of the prevalent ‘casting couch’ approach that Kaufman describes. He also talks about the actresses’ revolt against the system, when she run away with her lover. This all reads particularly sad to me, as Okada is known to have defected to the USSR in the ominous 1937, at the height of the Great Stalinist Terror. Her fate was horrible. But this is another story. Kaufman could not have known what awaits her.
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