Surface Play and Subterfuge: The Closed World of Masahiro Shinoda’s Cinema David Phelps December 2011 Feature Articles David Phelps provides a comprehensive analysis of the stylist features of one of the great directors of the Japanese New Wave.
Double Suicide and the “fetishism of space” Anne Rutherford June 2011 CTEQ Annotations on Film It is rare today to find a film as highly stylised as Shinju: Ten no amijima (Double Suicide) – especially one in which the stylisation is so exquisitely sustained across every level of set design, performance,...
The Thin Line between Truth and Lies: Masahiro Shinoda’s Samurai Spy Alain Silver June 2011 CTEQ Annotations on Film Alongside Kihachi Okamoto’s Dai-bosatsu toge (The Sword of Doom, 1966) and Hideo Gosha’s Kedamono no ken (Sword of the Beast, 1965), Masahiro Shinoda’s Ibun Sarutobi Sasuke (Samurai Spy) presents a new type of ...
Assassination Dan Harper June 2011 CTEQ Annotations on Film “I would like to be able to take hold of the past and make it stand still so that I can examine it from different angles.” - Masahiro Shinoda (1) In the long history of Japan, few moments were as volatile and...