KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN 'THE LIFE OF OHARU' (1952).

KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN 'THE LIFE OF OHARU' (1952). Rickmarthel Julian Kayug Bachelor ofapplied Arts with Honours (Cinematography) 2013

UNIVERSITI MALAYSIA SARA W AK BORANG PENGESAHAN STATUS TESIS/LAPORAN 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 6 D SULIT (mengandungi maklumat yang berdarjah keselamatan atau kepentingan seperti termaktub di dalam AKTA RAHSIA 1972) D TERHAD (mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan) V ~IDAK TERHAD Tandatangan Penulis Disahkan Disahkan Oleh: c:dt~f Tandatangan Penyelia Tarikh t:l~ 1"""~ ~ l3 Tarikh: '~I O-=l""/?4l ~ Alamat Tetap: Kg. Pamilaan, Peti Surat 129,89908 Tenom, Sabah. Mobil Jefri ~ samareoa Lect\Il'U. faculty ofapplie4 am CrcallVe Catatan: *Tesis/ Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah,~a Muda 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

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

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

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). 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

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

CHAPTER 1: INTRODUCTION 1.0 Introduction 1.1 Research Background 1-5 5-10 1.2 Problem Statement 10 1.3 Research Questions 10 1.4 Research Objective 10-11 1.5 Research Scope 11-12 1.6 Research Framework 12-14 1.7 Limitation 15 CHAPTER 2: LITERATURE REVIEW 2.0 Introduction 16-17 2.1 Long Take Features 2.1.1 Duration 2.1.2 Shot 2.1.3 Static 2.1.4 Movement 18 18 18 19 20 ix

2.2 Analysis of the Life ofoharu(j952) 2.2. 1 Duration 2.2.2 Cinematography (Long Take) 2.2.3 Theme (Realism) 20 20-21 21-22 22-23 CHAPTER 3: RESEARCH METHODOLOGI 3.0 Introduction 24 3.1 Qualitative Method (Observation) 24-25 3.2 Film Analysis/ Content Analysis 25 3.2.1 Long Take 3.2.2 Mise- en-scene 3.3 Film Critic Review 25 26-27 28 3.3.1 Michael Harbour, (2012) 28 3.3.2 Danny Kanna, (2011) 28-29 x

CHAPTER 4: FINAL YEAR PROJECT DISCUSSION 4.0 Introduction 30 4.1 Synopsis 4.2 Applying Research Into Final Year Project (Short Film) 4.3 Pre-Production 4.4 Production 4.5 Post-Production 4.6 Finding 4.7 Project Weakness 4.8 Project Strenght 30 31-32 33 33-34 34-35 35 35-36 37 CHAPTER 5: CONCLUSION 5.0 Conclusion BIBLIOGRAPHY 38-39 40-43 APPENDIX Appendix 1: Nexus Script Appendix 2: Poster of Nexus Appendix 3: Photograph of Nexus Filmmaking Appendix 4: Photograph ofnex.us Production xi

LIST OF TABLES Tables Page 1.1 Kenji Mizoguchi films awarded won and nominated at Venice Film Festival 8 1.1 Kenji Mizoguchi win the Kinema Jumpo Awards 8 2.2 Durations oflong take in the Life ofoharu 21 3.2 Analysis duration of Long take in the Life ofoharu 27 xii

LIST OF FIGURES Figure Page 1.0 The Life ofoharu (1952) Figure illustration 4 1.6 Conceptual Framework 7 4.1 Introduction of Nexus Titled and Main Character 30 4.2 Applying research (Long take) into Short Film (Nexus) 32 4.4 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 Fanu's 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 film's 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 Mizoguchi's 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 Postarid 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 shot,and 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 that's the Film Life Of Oharu 's 1952 IS the best and full of appreciation of the concept of Mizoguchi's 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 Mizoguchi's 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(1Ilenl:e could see it as the view of a scene in real life. 2

In addition, researchers also pointed out that the main purpose of using long take's is K.enji's tried to show a real life through a single take. Other than that, researchers also believe ~tbat kenji's never applied his long take technique without doing preparation properly. The quotation below by Shinoda clearly supported this statement.,... Mizoguchi's long takes, combined with the camera travelling at a leisurely pace, with its 'Unhurried gaze... (Shinoda, 1969b) Besides that, researcher also agreed that Kenji Mizoguchi's 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 ofhuman life through the mise en scene. This -0.. was supported by Mark Le Fanu, (2005:3) 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

The Life of Oharu (1952) Figure Illustration. FIGURE 2 FIGURE 4 FIGURE 5 FIGURE 6 4

UNlVERSm MALAYSIA SARAWAK The figure I until 6 shows some figure example in the film The Life OfOharu that has used technique oflong 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 ofaction. 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 Ibm:ueb the textual analysis ofthe 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 Mamel'AlUrsen Chitai on 1956 same year with his date ofdeath. As additional bfolmlltioln, the film studied by the researcher The Life of Oharu/Saikaku 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 iitizog1llchi"s films are ever made. The film's basically delivered the story about women's life asked the people in understanding their life through the long take. From this statement supported the researcher factor's to continue studying about Kenji's 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 SongofHome/Furusato no Uta (1925) 2. Tokyo MarchlI'okyo Koshinkyoku (1929) 3. Home Town/Furusato (1930) 4. The Water MagicianiTaki no Shiraito (1933) 5. The Downfall ofoseniorizuru Osen (1935) 6. Oyuki Madonna/Maria no Oyuki (1935) 7. Poppy/Gubijinso (1935) 8. Osaka ElegylNaniwa Ere}ii (1936) 9. Sister ofthe GioniGion no Shimai (1936) 10. The strait oflove and Hate/Aien Kyo (1937) II. The Story oflate Chrysanthemums/Zangiku Monogatari (1939) 12. The Loyal 47 ofroninigenroku Chusingura (Two parts: 1941-2) 13. Musashi Miyamoto/Miyamoto Musashi (1944) 14. The Famous Sword BijomarulMeito Bijomaru (1945) 15. The Victory ofwomen/josei no Shori (1946) 16. Five Women Round UtamarolUtamaro 0 Meguru Gonin no Onna (1946) 17. The Love ofsumako the Actress/Joyu 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 YukilYukiFu}in Ezu (1950) 21. Miss Oyu/Oyusama (1950) 22. The Lady From Musashino/Musashino Fujin (1951) 23. The Life ojoharuisaikaku lchidai Onna (1952) 24. Tales ofthe Watery Moon/Ugetsu Monogatari (1953) 25. Gion Festival MusiciGion Bayashi (1953) 6

26. Sansho the Baillif/Sansho 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) IMillO'lltUIIld 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]-8.l~ltClll-c.!IUl 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.!jec:ted by Kenji Mizoguchi, a lifelong advocate of equitable treatment for Japanese women, ofoharu was adapted from a novel by Saikaku!bara. - Hal Erickson, (2008). Kenji's achievement since he involved into film industries will shows in the tables page. 7

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 Won Silver Lion 1954 Nominated Golden Lion For: Sansho The Bailiff 1953 Won Silver Lion For: Ugetsu Nominated Golden Lion For: The Adultress & Ugetsu I Won International awarded 1952 Nominated Golden Lion For: The Life Oharu 1: List of Kenji Mizoguchi films awarded Won and Nominated at Venice Film ~fvdlonly. 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 Kenji's 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 method,coincidentliy, 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.,...cu.ij his long take technique. This is so because we can learned how Kenji's 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 Kaufman's statements clearly support that each director of the film own cinematographic technique in producing a film. Researchers, however, still _leiulg how long take techniques can be related to realism? 1III:ear,dl 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 ofrealism in a film? t...ftb 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