Post on 28-Jul-2021
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Bachelor of Applied Arts with Honours (Cinematography)
2013
UNIVERSITI MALAYSIA SARA W AK
BORANG PENGESAHAN STATUS TESISLAPORAN
JUDUL Kenji Mizoguchi Cinematographic Style (Long Take) In The Life OfOharu
(1952)
SESI PENGAJIAN 200912013
Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011
mengaku membenarkan tesisl Laporan ini disimpan di Pusat Khidmat Maklumat
Akademik Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut
1 Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak
2 Pusat Khidmat Maklumat Akademik Universiti Malaysia Sarawak dibenarkan
membuat salinan untuk tujuan pengajian sahaja
3 Pusat Khidmat Maklumat Akademik Universiti Malaysia Sarawak dibenarkan
membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan
4 Pusat Khidmat Maklumat Akademik Universiti Malaysia Sarawak dibenarkan
membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi
pengajian tinggi
5 sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan6middotD SULIT atau kepentingan seperti termaktub di dalam AKTA
D RAHSIA 1972)TERHAD
(mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan)
V ~IDAK TERHAD
Disahkan
Disahkan Oleh
cdt~f bull
Tandatangan Penyelia
Tarikh tL~ 1~ ~ l3 Tarikh ~I O-=l4l ~ Alamat Tetap Kg Pamilaan Peti Surat 12989908 Tenom Sabah Mobil Jefri ~ samareoa
faculty ofApplie4 aM CrcallVe
LectIlU
Catatan Tesis Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah~a Muda bull lika Tesis Laporan SULIT atau TERHAD sila lampirkan surat daripada pihak berkuasal
organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD
Tandatangan Penulis
This project report attached hereto entitled KENJI MIZOGUCHI
CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)
Prepared and submitted by RICKMARTHEL JULIAN KA YUG as a partial fulfilment of the
requirement for the degree of Bachelor of Applied and Creative Art with honours
(Cinematography) is hereby read and approved by
Read and approved by
Lecturer (Supervisor)
Date r1 7011
ii
IUllt Khltlmat Maklumat AkademiM UNJVERS ~W SJA S WAK
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU(1952)
RICKMARTHEL JULIAN KAYUG
This project is submitted in partial of fulfilment of
the requirements for the degree of Bachelor of Applied and Creative Art with Honours (Cinematography)
Faculty of Applied and Creative Art
UNIVERSITI MALAYSIA SARA W AK
2013
iii
Dedication goes especially to My beloved parents family and friends
Thank you for everything
iv
I
ACKNOWLEDGEMENT
Fullest gratitude to the GOD I was able to complete my final year project as scheduled
First and foremost I would like to express my high gratitude to my supervisor Mr Mohd
Jefri Bin Samaroon for his guidance and encouragements throughout this project Without him
priceless advice encouragement and guidance this thesis would be an extreamely hard task for
me This also goes to the lecturers and staff of Faculty of Applied and Creative Art
I would also like to convey my gratitude to my friends especially my coursemates In
Cinematography programme for their time and understanding and last but not least to my
beloved family for their guidance and support in helping me finishing this final year project
From the bottom of my heart once again I would like to wish my appreaction for them
thank you for everything God bless us
v
ABSTRACT
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU (1952)
I~
Rickmarthel Julian Kayug
This study aimed to identify and study the techniques of cinematography (long take) through the
review of the film The Life of Oharu (1952) directed by Kenji Mizoguchi Long Take is the
technique of taking a shot with a long duration that is not the same with the usual techniques
(Bordwell D (2008)) However the duration of the long take video or film is different
depending on the influence of a director Methods of data collection through content analysis is
used to identify data about long take duration and themes found in the films studied From the
study the researcher will produce a short video entitled Nexus
vi
ABSTRAK
TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE
LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long
take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi
Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak
sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video
atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah
Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data
mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian
pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus
vii
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
UNIVERSITI MALAYSIA SARA W AK
BORANG PENGESAHAN STATUS TESISLAPORAN
JUDUL Kenji Mizoguchi Cinematographic Style (Long Take) In The Life OfOharu
(1952)
SESI PENGAJIAN 200912013
Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011
mengaku membenarkan tesisl Laporan ini disimpan di Pusat Khidmat Maklumat
Akademik Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut
1 Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak
2 Pusat Khidmat Maklumat Akademik Universiti Malaysia Sarawak dibenarkan
membuat salinan untuk tujuan pengajian sahaja
3 Pusat Khidmat Maklumat Akademik Universiti Malaysia Sarawak dibenarkan
membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan
4 Pusat Khidmat Maklumat Akademik Universiti Malaysia Sarawak dibenarkan
membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi
pengajian tinggi
5 sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan6middotD SULIT atau kepentingan seperti termaktub di dalam AKTA
D RAHSIA 1972)TERHAD
(mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan)
V ~IDAK TERHAD
Disahkan
Disahkan Oleh
cdt~f bull
Tandatangan Penyelia
Tarikh tL~ 1~ ~ l3 Tarikh ~I O-=l4l ~ Alamat Tetap Kg Pamilaan Peti Surat 12989908 Tenom Sabah Mobil Jefri ~ samareoa
faculty ofApplie4 aM CrcallVe
LectIlU
Catatan Tesis Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah~a Muda bull lika Tesis Laporan SULIT atau TERHAD sila lampirkan surat daripada pihak berkuasal
organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD
Tandatangan Penulis
This project report attached hereto entitled KENJI MIZOGUCHI
CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)
Prepared and submitted by RICKMARTHEL JULIAN KA YUG as a partial fulfilment of the
requirement for the degree of Bachelor of Applied and Creative Art with honours
(Cinematography) is hereby read and approved by
Read and approved by
Lecturer (Supervisor)
Date r1 7011
ii
IUllt Khltlmat Maklumat AkademiM UNJVERS ~W SJA S WAK
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU(1952)
RICKMARTHEL JULIAN KAYUG
This project is submitted in partial of fulfilment of
the requirements for the degree of Bachelor of Applied and Creative Art with Honours (Cinematography)
Faculty of Applied and Creative Art
UNIVERSITI MALAYSIA SARA W AK
2013
iii
Dedication goes especially to My beloved parents family and friends
Thank you for everything
iv
I
ACKNOWLEDGEMENT
Fullest gratitude to the GOD I was able to complete my final year project as scheduled
First and foremost I would like to express my high gratitude to my supervisor Mr Mohd
Jefri Bin Samaroon for his guidance and encouragements throughout this project Without him
priceless advice encouragement and guidance this thesis would be an extreamely hard task for
me This also goes to the lecturers and staff of Faculty of Applied and Creative Art
I would also like to convey my gratitude to my friends especially my coursemates In
Cinematography programme for their time and understanding and last but not least to my
beloved family for their guidance and support in helping me finishing this final year project
From the bottom of my heart once again I would like to wish my appreaction for them
thank you for everything God bless us
v
ABSTRACT
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU (1952)
I~
Rickmarthel Julian Kayug
This study aimed to identify and study the techniques of cinematography (long take) through the
review of the film The Life of Oharu (1952) directed by Kenji Mizoguchi Long Take is the
technique of taking a shot with a long duration that is not the same with the usual techniques
(Bordwell D (2008)) However the duration of the long take video or film is different
depending on the influence of a director Methods of data collection through content analysis is
used to identify data about long take duration and themes found in the films studied From the
study the researcher will produce a short video entitled Nexus
vi
ABSTRAK
TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE
LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long
take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi
Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak
sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video
atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah
Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data
mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian
pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus
vii
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
This project report attached hereto entitled KENJI MIZOGUCHI
CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)
Prepared and submitted by RICKMARTHEL JULIAN KA YUG as a partial fulfilment of the
requirement for the degree of Bachelor of Applied and Creative Art with honours
(Cinematography) is hereby read and approved by
Read and approved by
Lecturer (Supervisor)
Date r1 7011
ii
IUllt Khltlmat Maklumat AkademiM UNJVERS ~W SJA S WAK
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU(1952)
RICKMARTHEL JULIAN KAYUG
This project is submitted in partial of fulfilment of
the requirements for the degree of Bachelor of Applied and Creative Art with Honours (Cinematography)
Faculty of Applied and Creative Art
UNIVERSITI MALAYSIA SARA W AK
2013
iii
Dedication goes especially to My beloved parents family and friends
Thank you for everything
iv
I
ACKNOWLEDGEMENT
Fullest gratitude to the GOD I was able to complete my final year project as scheduled
First and foremost I would like to express my high gratitude to my supervisor Mr Mohd
Jefri Bin Samaroon for his guidance and encouragements throughout this project Without him
priceless advice encouragement and guidance this thesis would be an extreamely hard task for
me This also goes to the lecturers and staff of Faculty of Applied and Creative Art
I would also like to convey my gratitude to my friends especially my coursemates In
Cinematography programme for their time and understanding and last but not least to my
beloved family for their guidance and support in helping me finishing this final year project
From the bottom of my heart once again I would like to wish my appreaction for them
thank you for everything God bless us
v
ABSTRACT
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU (1952)
I~
Rickmarthel Julian Kayug
This study aimed to identify and study the techniques of cinematography (long take) through the
review of the film The Life of Oharu (1952) directed by Kenji Mizoguchi Long Take is the
technique of taking a shot with a long duration that is not the same with the usual techniques
(Bordwell D (2008)) However the duration of the long take video or film is different
depending on the influence of a director Methods of data collection through content analysis is
used to identify data about long take duration and themes found in the films studied From the
study the researcher will produce a short video entitled Nexus
vi
ABSTRAK
TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE
LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long
take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi
Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak
sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video
atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah
Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data
mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian
pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus
vii
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
IUllt Khltlmat Maklumat AkademiM UNJVERS ~W SJA S WAK
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU(1952)
RICKMARTHEL JULIAN KAYUG
This project is submitted in partial of fulfilment of
the requirements for the degree of Bachelor of Applied and Creative Art with Honours (Cinematography)
Faculty of Applied and Creative Art
UNIVERSITI MALAYSIA SARA W AK
2013
iii
Dedication goes especially to My beloved parents family and friends
Thank you for everything
iv
I
ACKNOWLEDGEMENT
Fullest gratitude to the GOD I was able to complete my final year project as scheduled
First and foremost I would like to express my high gratitude to my supervisor Mr Mohd
Jefri Bin Samaroon for his guidance and encouragements throughout this project Without him
priceless advice encouragement and guidance this thesis would be an extreamely hard task for
me This also goes to the lecturers and staff of Faculty of Applied and Creative Art
I would also like to convey my gratitude to my friends especially my coursemates In
Cinematography programme for their time and understanding and last but not least to my
beloved family for their guidance and support in helping me finishing this final year project
From the bottom of my heart once again I would like to wish my appreaction for them
thank you for everything God bless us
v
ABSTRACT
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU (1952)
I~
Rickmarthel Julian Kayug
This study aimed to identify and study the techniques of cinematography (long take) through the
review of the film The Life of Oharu (1952) directed by Kenji Mizoguchi Long Take is the
technique of taking a shot with a long duration that is not the same with the usual techniques
(Bordwell D (2008)) However the duration of the long take video or film is different
depending on the influence of a director Methods of data collection through content analysis is
used to identify data about long take duration and themes found in the films studied From the
study the researcher will produce a short video entitled Nexus
vi
ABSTRAK
TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE
LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long
take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi
Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak
sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video
atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah
Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data
mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian
pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus
vii
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
Dedication goes especially to My beloved parents family and friends
Thank you for everything
iv
I
ACKNOWLEDGEMENT
Fullest gratitude to the GOD I was able to complete my final year project as scheduled
First and foremost I would like to express my high gratitude to my supervisor Mr Mohd
Jefri Bin Samaroon for his guidance and encouragements throughout this project Without him
priceless advice encouragement and guidance this thesis would be an extreamely hard task for
me This also goes to the lecturers and staff of Faculty of Applied and Creative Art
I would also like to convey my gratitude to my friends especially my coursemates In
Cinematography programme for their time and understanding and last but not least to my
beloved family for their guidance and support in helping me finishing this final year project
From the bottom of my heart once again I would like to wish my appreaction for them
thank you for everything God bless us
v
ABSTRACT
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU (1952)
I~
Rickmarthel Julian Kayug
This study aimed to identify and study the techniques of cinematography (long take) through the
review of the film The Life of Oharu (1952) directed by Kenji Mizoguchi Long Take is the
technique of taking a shot with a long duration that is not the same with the usual techniques
(Bordwell D (2008)) However the duration of the long take video or film is different
depending on the influence of a director Methods of data collection through content analysis is
used to identify data about long take duration and themes found in the films studied From the
study the researcher will produce a short video entitled Nexus
vi
ABSTRAK
TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE
LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long
take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi
Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak
sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video
atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah
Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data
mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian
pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus
vii
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
ACKNOWLEDGEMENT
Fullest gratitude to the GOD I was able to complete my final year project as scheduled
First and foremost I would like to express my high gratitude to my supervisor Mr Mohd
Jefri Bin Samaroon for his guidance and encouragements throughout this project Without him
priceless advice encouragement and guidance this thesis would be an extreamely hard task for
me This also goes to the lecturers and staff of Faculty of Applied and Creative Art
I would also like to convey my gratitude to my friends especially my coursemates In
Cinematography programme for their time and understanding and last but not least to my
beloved family for their guidance and support in helping me finishing this final year project
From the bottom of my heart once again I would like to wish my appreaction for them
thank you for everything God bless us
v
ABSTRACT
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU (1952)
I~
Rickmarthel Julian Kayug
This study aimed to identify and study the techniques of cinematography (long take) through the
review of the film The Life of Oharu (1952) directed by Kenji Mizoguchi Long Take is the
technique of taking a shot with a long duration that is not the same with the usual techniques
(Bordwell D (2008)) However the duration of the long take video or film is different
depending on the influence of a director Methods of data collection through content analysis is
used to identify data about long take duration and themes found in the films studied From the
study the researcher will produce a short video entitled Nexus
vi
ABSTRAK
TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE
LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long
take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi
Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak
sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video
atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah
Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data
mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian
pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus
vii
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
ABSTRACT
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF
OHARU (1952)
I~
Rickmarthel Julian Kayug
This study aimed to identify and study the techniques of cinematography (long take) through the
review of the film The Life of Oharu (1952) directed by Kenji Mizoguchi Long Take is the
technique of taking a shot with a long duration that is not the same with the usual techniques
(Bordwell D (2008)) However the duration of the long take video or film is different
depending on the influence of a director Methods of data collection through content analysis is
used to identify data about long take duration and themes found in the films studied From the
study the researcher will produce a short video entitled Nexus
vi
ABSTRAK
TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE
LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long
take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi
Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak
sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video
atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah
Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data
mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian
pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus
vii
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
ABSTRAK
TEKNIK SINEMATOGRAFI (LONG TAKE) KENJI MIZOGUCHI DALAM FILEM THE
LIFE OF OHARU (1952)
Rickmarthel Julian Kayug
Kajian ini bertujuan untuk mengenal pasti dan mengkaji mengenai teknik sinematografi (long
take) melalui penelitian terhadap filem The Life of Oharu(1952) arahan Kenji Mizoguchi
Long Take merupakan teknik pengambilan suatu shot yang panjang dengan durasi yang tidak
sarna dengan teknik yang biasa (Bordwell D (2008)) Walau bagaimanapun durasi suatu video
atau filem long take adalah berbeza-beza bergantung kepada pengaruh seseorang pengarah
Kaedah pengumpulan data melalui analisa kandungan digunakan untuk mengenalpasti data
mengenai durasi long take dan tema yang terdapat dalam filem yang dikaji Dari hasil kajian
pengkaji akan menghasilkan sebuah video pendek yang bertajuk Nexus
vii
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
IUS2t dmat um t a I Ii
UNIVERSm MALAYSIA SAKAWAK
Table of Contents
APPROVAL LETTER
APPROVAL SHEET ii
PROJECT TITLE iii
DEDICATION IV
ACKNOWLEDGMENT V
ABSTRACT (English Version) VI
ABSTRACT (Bahasa Malaysia Version) vii
TABLE OF CONTENTS viii-xi
LIST OF TABLES XlI
LIST OF FIGURES xiii
viii
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
I
CHAPTER 1 INTRODUCTION
10 Introduction
11 Research Background
12 Problem Statement
13 Research Questions
14 Research Objective
15 Research Scope
16 Research Framework
17 Limitation
CHAPTER 2 LITERATURE REVIEW
20 Introduction
21 Long Take Features
211 Duration
212 Shot
213 Static
214 Movement
1-5
5-10
10
10
10-11
11-12
12-14
15
16-17
18
18
18
19
20
ix
I
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
22 Analysis of the Life ofOharu(J952)
22 1 Duration
222 Cinematography (Long Take)
223 Theme (Realism)
I I
CHAPTER 3 RESEARCH METHODOLOGI
30 Introduction
31 Qualitative Method (Observation)
32 Film Analysis Content Analysis
321 Long Take
322 Mise- en-scene
33 Film Critic Review
331 Michael Harbour (2012)
332 Danny Kanna (2011)
I
20
20-21
21-22
22-23
24
24-25
25
25
26-27
28
28
28-29
x
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
CHAPTER 4 FINAL YEAR PROJECT DISCUSSION
40 Introduction
41 Synopsis
42 Applying Research Into Final Year Project (Short Film)
43 Pre-Production
44 Production
45 Post-Production
46 Finding
47 Project Weakness
48 Project Strenght
CHAPTER 5 CONCLUSION
50 Conclusion
BIBLIOGRAPHY
APPENDIX
Appendix 1 Nexus Script
Appendix 2 Poster of Nexus
Appendix 3 Photograph of Nexus Filmmaking
Appendix 4 Photograph ofNexUs Production
30
30
31-32
33
33-34
34-35
35
35-36
37
38-39
40-43
xi
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
LIST OF TABLES
Tables Page
11 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8
11 Kenji Mizoguchi win the Kinema Jumpo Awards 8
22 Durations ofLong take in the Life ofOharu 21
32 Analysis duration of Long take in the Life ofOharu 27
xii
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
LIST OF FIGURES
Figure Page
10 The Life ofOharu (1952) Figure illustration 4
16 Conceptual Framework 7
41 Introduction of Nexus Titled and Main Character 30
42 Applying research (Long take) into Short Film (Nexus) 32
44 Production (Photograph) Nexus Filmmaking 34
xiii
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
Topic 1
Introduction
This research will study about Kenji Mizoguchi cinematographic style (Long Take)
through the analysis of the film The Life of Oharu This is because If the technique of long
tIlke not applied properly and carefully so that the scene will be bored This statemented was
supported by Mark Le Fanus quote below
When it does not work it can be boring and
aggravating
(Mark Le Fanu 2005 3)
First of all researchers would like to explain what is the definition of cinematographic
and style According to Encylopedia Cinematography means the art and technology of
motion-picture photography It involves the composition of a scene lighting of the set and
actors choice of cameras camera angle and also integration of special effects to achieve the
photographic images desired by the director Cinematography focuses on relations between
the individual shots and groups of shots that make up a scene to produce a films effect
While according to Joyce M Hawkins (2001) style means speaking or writing style
style manner or style of doing something the shape To facilitate understanding of the Kenji
Mizoguchis cinematography style researchers first need to know a little bit about the history
of Japanese Cinema
Before discussing about the effects of long takes in terms of Kenji Mizoguchi I first
to define what a long take is and then further specify what kind of long takes that this
thesi 11 discuss
1
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
According to Hsin-Ning Chang (2008) in his thesis Viewing the Long Take in Postshy
arid War II Films A Cognitive Approach College of Fine Arts of Ohio University The
ItlIce is a term that describes a film technique It is a tenn used in film studies David
-lkIlrclvvell has defined a take as one run of the camera that records a single shot (Film Art
and he further describes a long take as a single shot that runs for an unusually long
duration
In term of film studies the researchers agreed with Hsin-Ning Chang (2008) about
his statemented that the long take is a kind of cinematographic technique and not a theory in
filmmaking However this technique (long take) have a different approach and different
dw-ations than the usual technique
Furthermore The tenn of long take is used also to avoids the ambiguous meanings of
long shot which can refer to the framing of a shotand long cut which can refer to either a
whole version ofa film or the general editing pacing of the film However these two tenns
are sometimes used interchangeably with long take
Researchers also believed and agreed thats the Film Life Of Oharu s 1952 IS the
best and full of appreciation of the concept of Mizoguchis long take Through the film The
Life Of Oharu camera movements who follow O-Haru everywhere (Tanaka Kinuyo)
reinforces the effect of using long take techniques that show every act of O-Haru
Allowed life to speak itself (Shinoda I 969b )
Through the Kenji Mizoguchis context he uses the long take as a medium to convey
the reality ofa scene through the film The Life of Oharu The long take is used so the
1 8IU(1Ilenle could see it as the view of a scene in real life
2
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
I
In addition researchers also pointed out that the main purpose of using long takes is
Kenjis tried to show a real life through a single take Other than that researchers also believe
~tbat kenjis never applied his long take technique without doing preparation properly The
quotation below by Shinoda clearly supported this statement
Mizoguchis long takes combined with the
camera travelling at a leisurely pace with its Unhurried
gaze
(Shinoda 1969b)
Besides that researcher also agreed that Kenji Mizoguchis considered as a
revolutionary filmmaker This is so because every shot that his create have something to tell
Ithe audience through the combination of long take elements Each shot also made up of the
value oflife and to show how life is constantly exposed to various challenges Kenji
I ~ _g _L films also shows the behaviour of human life through the mise en scene This
-0 was supported by Mark Le Fanu (20053) in his quoted below
yet whether the long take is deployed constantly
throughout a film or whether it is used sparingly but
intelligently it seems able to bring something to the
possibility ofcinema ofwhich others form ofmis en scene
are capable (Mark Le Fanu (2005 3))
Based on the statement above the researcher founds that the mise-en-scene is one of
~ - r ILGIIl part of the application of long take technique This is because the technique long
~ would not be complete ifit is not accompanied by the mise en scene
3
J
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
The Life of Oharu (1952) Figure Illustration
FIGURE 2
FIGURE 4
FIGURE 5 FIGURE 6
4
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
Slt KJUdmat MaklulJlat Akadtrnik UNlVERSm MALAYSIA SARAWAK
The figure I until 6 shows some figure example in the film The Life OfOharu that has
used technique of long take The camera are static and was taken with a long duration to
our eyes enjoy the scene without disturbed with any cutting in the middle of action
Therefore this study will be more focused on the discovery and identification about
PiDmulto~~)hic (more focus on long take ) techniques are applied in the film studied
Ibmueb the textual analysis of the film The Life ofOharu by Kenji Mizoguchi
reh Background
Why Kenji Mizoguchi
Before that researcher glad to write about some of Kenji Mizoguchi biographies in
part Kenji Mizoguchi was born on 16 May 1898 at Asakusa Tokyo Japan and then death
24 August 1956 at Kyoto Japan because of leukaemia He directed his first film The Song
HomeiFurusato no Uta on 1925 While the last film he was direct is Street of
MamelAlUrsen Chitai on 1956 same year with his date of death As additional
bfOlmlltioln the film studied by the researcher The Life of OharuSaikaku Ichidai Onna
BOCllUCCKl in 1952 with the same director (Kenji Mizoguchi)
Researcher personally believe that film Life of Oharu is the one of the best
iitizOg1lLChis films are ever made The films basically delivered the story about womens life
asked the people in understanding their life through the long take From this statement
supported the researcher factors to continue studying about Kenjis cinematographic
in the Life of Oharu This statement also was support by Anastasia (2010) in quoted
For thi is one ofMizoguchi s best films (Anastasia April 3 2010)
5
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
MJzogachi rum list by year of production
1 The SongofHomeFurusato no Uta (1925)
2 Tokyo MarchlIokyo Koshinkyoku (1929)
3 Home TownFurusato (1930)
4 The Water MagicianiTaki no Shiraito (1933)
5 The Downfall ofOseniOrizuru Osen (1935)
6 Oyuki MadonnaMaria no Oyuki (1935)
7 PoppyGubijinso (1935)
8 Osaka ElegylNaniwa Ereii (1936)
9 Sister ofthe GioniGion no Shimai (1936)
10 The strait ofLove and HateAien Kyo (1937)
II The Story ofLate ChrysanthemumsZangiku Monogatari (1939)
12 The Loyal 47 ofRoniniGenroku Chusingura (Two parts 1941-2)
13 Musashi MiyamotoMiyamoto Musashi (1944)
14 The Famous Sword BijomarulMeito Bijomaru (1945)
15 The Victory ofWomenJosei no Shori (1946)
16 Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946)
17 The Love ofSumako the ActressJoyu Sumako no Koi (1947)
18 Women ofthe NightlYoru no Onnatachi (1948)
19 My Love Has Been Burning Waga Koi Wa Moenu (1949)
20 A Picture ofMadam YukilYukiFuin Ezu (1950)
21 Miss OyuOyusama (1950)
22 The Lady From MusashinoMusashino Fujin (1951)
23 The Life ojOharuiSaikaku lchidai Onna (1952)
24 Tales ofthe Watery MoonUgetsu Monogatari (1953)
25 Gion Festival MusiciGion Bayashi (1953)
6
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
26 Sansho the BaillifSansho Dayu (1954)
27 The Woman ofRumourlUwasa no Onna (1954)
28 Crucified LoverslChikamatsu Monogatari (1954)
29 The Empress Yang Kwei FeilYokihi (1955)
30 Tales ofthe Taira ClaniShinheike Monogatari (1955)
3 Street ofShamelAkasen Chitai (1956)
IMillOlltUIIld of The Life of Oharu by Hal Erickson
The life of Oharu features Kinuyo Tanaka in the title role Oharu is a middle-aged
rostituite in 17th century Japan As she prays before a statue of Buddha Oharu reviews her
Her road to degradation began when as a teenager she disgraced her family by falling
love with a samurai (Toshiro Mifune) Oharu became the mistress of a prince who cast her
after she bore his son She was then sold into prostitution by her father and thus began a
1ICI]-8l~ltClll-cIUl existence alternating between brief happiness with those she genuinely
and servitude to those she despised A potential happy ending reuniting her with her
son is dashed by the much-maligned Oharu herself who opts for the life of a beggar
jected by Kenji Mizoguchi a lifelong advocate of equitable treatment for Japanese women
ofOharu was adapted from a novel by Saikaku bara - Hal Erickson (2008)
Kenjis achievement since he involved into film industries will shows in the tables
page
7
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
1 List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film
~fvDlonly
wee FUm Festival
Year Result Awarded Recipient
1956 Nominated Golden Lion F or Street of Shame
1955 Nominated Golden Lion F or Princess Yang K wei -F ei
1954
Won Silver Lion
For Sansho The Bailiff
Nominated Golden Lion
1953
Won Silver Lion For Ugetsu
I
Nominated Golden Lion For The Adultress amp Ugetsu
1952
Won International awarded
For The Life Oharu Nominated Golden Lion
Kinema Junpo Awards
Year Result Award Recipient
1937 Won Best Film I For Sisters of the Gion (1936)
Table 2 Kenji Mizoguchi wins the Kinema Junpo Awards
Kenjis also won the Blue Ribon Awards 1955 as a Best Director for the film The
Crucified Lovers (1954)
8
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
In the table one the columns that had been highlighted to show that the film studied
the researcher had been won the Silver Lion awards and also nominated for Golden Lion
at Venice Film Festival 1952 This is the main reason why the researcher chooses to
The Life Oharu to complete this studied
Besides that Kenji Mizoguchi is also known as the one of the greatest masters of the
lalee technique in this world This statement is supported by Mark Le Fanu in his
Mizoguchi is perhaps the greatest master ever ofmethod
of shooting known as extended sequences or long-take
composition the very methodcoincidentliy that is the
signature of many of the most interesting contemporary
film directors
(Mark Le Fanu 2005 2)
In tenns of film study there is something we can learn from Kenji Mizoguchi style
cuIJ his long take technique This is so because we can learned how Kenjis combined
elements of long take with the great method to produce a great films like the Life of
(1952) His film has something like power to make people realize about what life it
This statement also supported by quatation below
Nearly fifty years after his death it appears that his
cinema still has something to teach us Partly this is a
spiritual apprehension (as it also is with Ozu
surely) They shake and move the viewer by the power
9
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10
refinement and compassion with which they confront
human suffering (Mark Le Fanu 2005 pg 3)
The quotation above clearly explains and supported why researcher chosen to study
ICmji Mizoguchi about his cinematography technique (Long Take) in the Life of
1952 particularly
ccording to Lloyd Kaufman in the book Direct Your Own Damn Movie 2009 9 a
will control the content of the book he produced while a film director controls the film
produced Lloyd Kaufmans statements clearly support that each director of the film
bull own cinematographic technique in producing a film Researchers however still
_leIUlg how long take techniques can be related to realism
1IIIeardl Questions
The research question is a question which has arisen in this study Researchers want
the existing problems in this study is How the long take techniques can help in
IiveIrtDR elements of realism in a film
tftb Objective
The objective of this study is things that become the main direction for researchers to
research Studies on a cinematographic technique is a very general because there are
1eW things to be found and studied in detail Therefore the researchers want to limit
10