Word: hfa
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...retrospective wasn’t organized by the HFA itself. Rather, it’s a traveling series organized by Shochiku Home Video, the original Japanese distributor of Ozu’s films. Shochiku collected newly-struck 35 mm prints of most the films, many of which have been previously available only on 16 mm. Before coming to Harvard, the retrospective visited the Berlin, Hong Kong and New York Film Festivals, and the EAC Film Archive in Berkeley...
...retrospective screens 36 films in total, more than is usually allotted for each of the retrospectives that the Archive organizes on a roughly monthly schedule. However, HFA Film Programmer Ted Barron explains that it was crucially important for the Archive to show as much of Ozu’s work as possible...
...many films as they hoped. “A retrospective so large brings in a lot of expenses we couldn’t meet,” explains Barron. Rentals of $300 to $600 per film, as well as shipping and promotion costs, added up to more than the HFA could afford...
...April 2, the HFA screened Tokyo Story, Ozu’s best known film, to open the series. The film was introduced by executives from Shochiku, many of whom shared personal anecdotes and memories of Ozu, who died in 1987. Since this first screening, his works have been screened in roughly chronological order, from his silent films about young college students to his later, more lyrical meditations on family and aging...
...Saturday, April 24, the HFA screened one of Ozu’s silent films, I Was Born, But... (Umarete Wa mita karedo) the way audiences would have seen it in the 1930s: a live benshi performed while the movie played on the screen. During the silent film era in Japan, benshi served as narrators to the on-screen action, playing a key part in popularizing motion pictures throughout the country. Saturday’s performance will come from Midori Sawato, one of the few remaining practicing benshi in the world. The live narration is a performance...