Mizoguchi, Melodrama, and the Psychology of Nature: Exploring Relationships Between Worlds in Kenji Mizoguchi’s Musashino Fujin (1951)
Mizoguchi, Melodrama, and the Psychology of Nature: Exploring Relationships Between Worlds in Kenji Mizoguchi’s Musashino Fujin (1951)
复制标题
沟口、情节剧和自然心理学：探索沟口健二的《武藏野风神》（1951）中世界之间的关系
DOI：
10.1080/10509208.2018.1507177
复制
发表时间：
2018
影响因子：
--
通讯作者：
Paul Spicer
中科院分区：
文献类型：
--
作者：
監修：水野英子;編著：ヤマダトモコ・増田のぞみ・小西優里・想田四;増田のぞみ（分担執筆）;伊藤裕子;Yuko Ito;伊藤裕子;伊藤裕子;伊藤裕子;Yuko Ito;Yuko Ito;Yuko Ito;Yuko Ito;伊藤裕子;Paul Spicer;古川裕朗;Paul Spicer;古川裕朗;古川裕朗;古川裕朗;Paul Spicer
尽管留存下来的电影很少，但日本导演沟口健二从20世纪20年代开始的早期电影据说是风格和流派的折衷混合。《血与魂》（Blood and Soul, 1923）讲述了一个偷钻石的连环杀手秀夫（由丰孝饰演）的故事，受到了德国表现主义的风格影响；Toge no Uta(神之歌
Although few have survived, Japanese director Kenji Mizoguchi’s earliest films from the 1920s were by all accounts an eclectic mixture of styles and genres. Chi to Rei (Blood and Soul, 1923) told the tale of Hideo, a diamond-stealing serial killer (played by Yutaka Mimasu), and drew stylistic influence from German Expressionism; Toge no Uta (The Song of the