01237nam a2200313 i 450099100342399970753620021217150920.0001127s1996 uk b 001 0 eng d1899628045b11806138-39ule_instLE00300190ExLDip.to Biologiaeng578.722World Conservation Monitoring Centre531135Assessing biodiversity status and sustainability /by the World Conservation Monitoring Centre ; editors B. Groombridge and M. D. JenkinsCambridge, UK :World Conservation Press,1996iv, 104 p. :ill. ;30 cm.WCMC biodiversity series ;5Includes bibliographical references (p. 67-73)BiodiversitySustainable developmentGroombridge, BrianJenkins, Martin.b1180613827-04-1718-12-02991003423999707536LE003 578.7 WOR01.01 (1996)12003000018264le003-E0.00-l- 00000.i1205444618-12-02Assessing biodiversity status and sustainability907514UNISALENTOle00301-01-00ma -enguk 0103972nam 2200913z- 450 991055733900332120220111(CKB)5400000000042488(oapen)https://directory.doabooks.org/handle/20.500.12854/76410(oapen)doab76410(EXLCZ)99540000000004248820202201d2021 |y 0engurmn|---annantxtrdacontentcrdamediacrrdacarrierDevelopments in the Japanese Documentary ModeBasel, SwitzerlandMDPI - Multidisciplinary Digital Publishing Institute20211 online resource (140 p.)3-03943-913-8 3-03943-914-6 Writing on Japanese cinema has prioritized aesthetic and cultural difference, and obscured Japan's contribution to the representation of real life in cinema and related forms. Donald Richie, who was instrumental in introducing Japanese cinema to the West, even claimed that Japan did not have a true documentary tradition due to the apparent preference of Japanese audiences for stylisation over realism, a preference that originated from its theatrical tradition. However, a closer look at the history of Japanese documentary and feature film production reveals an emphasis on actuality and everyday life as a major part of Japanese film culture. That 'documentary mode' - crossing genre and medium like Peter Brooks' 'melodramatic mode' rather than limited to styles of documentary filmmaking alone - identifies rhetoric of authenticity in cinema and related media, even as that rhetoric was sometimes put in service to political and economic ends. The articles in this Special Issue, 'Developments in the Japanese Documentary Mode', trace important changes in documentary film schools and movements from the 1930s onwards, sometimes in relation to other media, and the efforts of some post-war filmmakers to adapt the styles and ethical commitments that underpin documentary's "impression of authenticity" to their representation of fictional worldsMusicbicsscAdachi Masaoauthorshipavant-garde documentarycinéma veritécinematographydirect cinemadocumentarydocumentary filmdocumentary film theorydocumentary photographydramatizationethics of representationethnofictionexperiencefiction and documentaryfilm theoryfolklore studiesHani SusumuhibakushahistoryHistory of Post-War Japan as Told by a Bar HostessImamura ShōheiIshimure MichikoJapanJapanese cinemalandscapesmagic lanternmemoryMinamata diseaseMinamata: The Victims and Their WorldMizoguchi Kenjin/anew Leftnon-fictionobservational documentarypopular history movementpost-1945 Japanpostwar Japansemi-documentaryShindō KanetosubjectivityTeshigahara HiroshiThe Children of Minamata are Livingthe culture filmTsuchimoto NoriakiW. Eugene SmithMusicCenteno Marcosedt1322507Raine MichaeledtCenteno MarcosothRaine MichaelothBOOK9910557339003321Developments in the Japanese Documentary Mode3035240UNINA