Word: kabuki
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...hour epic that explores contemporary life along the ancient Chinese and Central Asian routes followed by the silk caravans. NHK's second channel is dedicated to education and often works in tandem with the nation's primary schools. It also offers Shakespeare, symphonic music, Noh plays and Kabuki drama...
Four minutes. Nothing. At three minutes to the hour, a blood-red Mercedes screeches through the gate, careering into a reserved parking place. Out pops a 5-ft. 3-in., 99-lb. woman who, with her porcelain complexion, delicate features and glistening black hair, might pass for a Kabuki doll. As she scampers along on 2-in. wooden platform shoes, her mouth is al eady moving faster than her feet...
...entertainment world that moves to Sony Walkman rhythms and Pac-Man blips, Japanese cinema is troubled and timid. The five studios that have survived the national movie recession of the past decade or so-Toho, Toei, Shochiku, Nikkatsu and Daiei-find their profits in real estate, supermarket chains, Kabuki theater troupes and bowling alleys. Most of the 322 films produced last year were roman poruno, or lowbudget, soft-core-sex pictures. The number of theaters is down 68% since 1958, and ticket sales were a pathetic 150 million (down 87%). Even compared with reduced attendance figures in the West, Japan...
...near exhaustion, the Japanese cinema has returned to the exotic isolation of its earliest years. Moviegoing in Japan at the turn of the century was an experience more closely allied to other national arts than to the nickelodeon fever of the West. Until 1918 female roles were played by Kabuki actors in drag. Until the arrival of talking pictures in 1931, audiences depended upon spellbinding narrators called benshi to interpret the on-screen action; many were more popular than the country's movie stars. Though Japanese cinema was a strong force in Asia (so much so that in Thailand...
...world through Western-style intelligence. Once, when a Westerner looked at Japanese movies-at Kurosawa's kamikaze-type warriors in The Seven Samurai and Yojimbo, or Ozu's gentle heroines in Tokyo Story and The Flavor of Green Tea over Rice, or Mizoguchi's evocations of Kabuki drama in Ugetsu and Sansho the Bailiff-he, could tell himself, 'This is Japan!' He can't find that kind of false reassurance in the works of Imamura or Oshima...