- URL: https://artofthebenshi.org
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- <html lang="en" class="antialiased"><head> <meta charset="UTF-8"> <meta name="viewport" content="width=device-width, initial-scale=1.0"> <link rel="shortcut icon" href="https://artofthebenshi.org/media/site/52f4ffcbe2-1705624372/favicon-06.png"> <title>The Art of the Benshi</title> <meta property="og:title" content="The Art of the Benshi"> <meta property="og:type" content="website"> <meta property="og:url" content="https://artofthebenshi.org"> <meta property="og:description" content="The Art of the Benshi 2024 World Tour runs April 5–26, 2024, presented by the Yanai Initiative for Globalizing Japanese Humanities and the UCLA Film & Television Archive."> <meta property="og:image" content="https://artofthebenshi.org/media/site/367ff28fd5-1705624371/share-image.jpg"> <meta name="twitter:card" content="summary_large_image"> <link rel="stylesheet" href="https://use.typekit.net/ubm0umc.css"> <link href="https://artofthebenshi.org/assets/bundle.css?v=1709859813" rel="stylesheet"></head> <body class="font-serif text-2xl oldstyle-nums"> <header class="lg:fixed lg:top-0 lg:w-1/2 flex flex-col justify-between lg:h-screen text-center"> <div class="p-4 md:p-6 space-y-8"> <div class="all-small-caps"> Silent Film Narrators of Japan World Tour<br>April 5 – 26, 2024 </div> <h1 class="text-[15vw] lg:text-[6.8vw] leading-none font-script"> <a href="https://artofthebenshi.org" onclick="event.preventDefault(); window.scrollTo({top: 0, behavior: 'smooth'}); history.pushState('', document.title, window.location.pathname + window.location.search);"> The Art of the Benshi </a> </h1> </div> <div class="hidden lg:block px-4 md:px-6 font-script text-7xl"> <nav class="-mt-4"> <ul class="nav-highlight"> <li><a class="transition-colors hitbox" title="About" href="#about" data-jump="" data-link="">About</a></li> <li><a class="transition-colors hitbox" title="Venues & Dates" href="#venues-amp-dates" data-jump="" data-link="">Venues & Dates</a></li> <li><a class="transition-colors hitbox" title="Films & Programs" href="#films-programs" data-jump="" data-link="">Films & Programs</a></li> <li><a class="transition-colors hitbox" title="Performers" href="#performers" data-jump="" data-link="">Performers</a></li> <li><a class="transition-colors hitbox" title="Companion Book" href="#companion-book" data-jump="" data-link="">Companion Book</a></li> <li><a class="transition-colors hitbox" title="Organizers" href="#organizers" data-jump="" data-link="">Organizers</a></li> </ul> </nav> </div> <div class="all-small-caps p-4 md:py-6 md:px-20"> Presented by the Yanai Initiative for Globalizing Japanese Humanities and the UCLA Film & Television Archive </div> </header> <main class="lg:w-1/2 lg:float-right min-h-screen bg-black text-white"> <div class="space-y-12"> <section data-section=""> <div class="slideshow aspect-4/5 lg:aspect-auto lg:h-screen"> <figure class="w-full h-full relative"> <img src="https://artofthebenshi.org/media/pages/home/025a9b025a-1705624383/home-test.jpg" class="absolute w-full h-full top-0 left-0 object-cover object-center" loading="lazy" alt="" style="opacity: 1; transition: opacity 0.5s;"> </figure> </div> <div class="px-4"> <div class="flex gap-3 slideshow-ui pt-3"> <!-- <button class="font-ui -mt-2.5 slideshow-previous hidden">←</button> --> <div class="slideshow-caption flex-1 text-base text-center sm:text-right"><em>Blood Spattered Takadanobaba</em> (<em>Chikemuri Takadanobaba</em>), Japan, 1928</div> <!-- <button class="font-ui -mt-2.5 slideshow-next hidden">→</button> --> </div> </div> </section> <div class="pt-6 px-6 pb-24 rich-text links blocks"> <span id="about" class="hidden-block scroll-mt-12"></span> <p>This April, the Art of the Benshi 2024 World Tour offers audiences a rare opportunity to experience the mesmerizing artistry of three of Japan’s celebrated <em>benshi</em>—“movie orators” who, since the days of Thomas Edison’s Kinetoscope, have been breathing life into silent film. Joined by an ensemble of musicians from Japan, these masters of their art will transport viewers back to the golden age of silent film, when every movie screening was also a live performance.</p><p>During the heyday of the <em>benshi</em>, more than 7,000 of these charismatic artists narrated the action in films, and made silent actors speak. Their voices rang out in movie theaters across Japan, as well as in Korea and other Japanese colonies, and in Japanese American communities in the United States. The greatest <em>benshi</em> were famous enough to rival the stars on screen.</p><p>Now, thanks to a tour of unprecedented scale, audiences in New York, Washington, D.C., Chicago, Los Angeles and Tokyo will have a chance to experience the magic of the <em>benshi</em> as they perform not just individually, but together. This collaborative style of performance, in which each <em>benshi</em> takes on the roles of different characters, has been seen only once before in the U.S. since the advent of the talkie, at the 2019 Art of the Benshi program at UCLA that paved the way for this year’s world tour. All performances will be in Japanese with live music and English subtitles.</p><p>Encompassing 12 dates at six venues from April 5–26, the Art of the Benshi 2024 World Tour features six distinct programs of classic, newly restored, and rarely-seen silent films from Japan and the United States. The diverse array of works includes cult favorite <em>A Page of Madness</em> (<em>Kurutta ichipeiji</em>, 1926); the earliest surviving Japanese animated film <em>The Dull Sword</em> (<em>Namakura gatana</em>, 1917); classic films by Ozu Yasujirō, Mizoguchi Kenji, and Charlie Chaplin; and the recently discovered and restored <em>The Oath of the Sword</em>, which is the earliest known Asian American film production.</p><h2 id="the-art-of-the-benshi-2024-world-tour-trailer" class="scroll-mt-6">The Art of the Benshi 2024 World Tour Trailer</h2> <figure> <div class="video-embed"> <iframe allow="fullscreen" allowfullscreen="" src="https://www.youtube.com/embed/Jxld6e-IieQ?modestbranding=1&showinfo=0"></iframe> </div> </figure> <h1 id="venues-amp-dates" class="scroll-mt-6" data-section="">Venues & Dates</h1> <section class="text-center space-y-10"> <div class="flex flex-col items-center all-small-caps"> <div class="all-small-caps"><p>April 5 – 7</p></div> <h5 class=""> BAM (Brooklyn Academy of Music), New York </h5> <div class="all-small-caps"><p>Programs I, II, III, IV<br> <a href="https://www.bam.org/film/2024/the-art-of-the-benshi">Tickets</a></p></div> </div> <div class="flex flex-col items-center all-small-caps"> <div class="all-small-caps"><p>April 12 – 14</p></div> <h5 class=""> The National Museum of Asian Art, Smithsonian Institution, Washington, D.C. </h5> <div class="all-small-caps"><p>Programs I, II, III, IV<br> <a href="https://www.eventbrite.com/cc/the-art-of-the-benshi-3153959">Tickets</a></p></div> </div> <div class="flex flex-col items-center all-small-caps"> <div class="all-small-caps"><p>April 16 – 17</p></div> <h5 class=""> The Gene Siskel Film Center, Chicago </h5> <div class="all-small-caps"><p>Programs I & III<br> <a href="https://www.siskelfilmcenter.org/benshi">Tickets</a></p></div> </div> <div class="flex flex-col items-center all-small-caps"> <div class="all-small-caps"><p>April 18</p></div> <h5 class=""> The World of the Benshi: Lecture and Demonstration </h5> <div class="all-small-caps"><p>JAPAN HOUSE Los Angeles<br> <a href="https://www.jflalc.org/event-details.php/159/the-world-of-the-benshi">RSVP</a></p></div> </div> <div class="flex flex-col items-center all-small-caps"> <div class="all-small-caps"><p>April 19</p></div> <h5 class=""> The United Theater on Broadway, Los Angeles </h5> <div class="all-small-caps"><p>Program III<br> <a href="https://www.axs.com/events/533819/the-art-of-the-benshi-tickets">Tickets</a></p></div> </div> <div class="flex flex-col items-center all-small-caps"> <div class="all-small-caps"><p>April 20 – 21</p></div> <h5 class=""> Billy Wilder Theater at the Hammer Museum at UCLA, Los Angeles </h5> <div class="all-small-caps"><p>Programs I, II, IV, V<br> <a href="https://cinema.ucla.edu/events/2024/art-of-the-benshi">Tickets</a></p></div> </div> <div class="flex flex-col items-center all-small-caps"> <div class="all-small-caps"><p>April 26</p></div> <h5 class=""> ōkuma Auditorium, Waseda University, Tokyo, Japan </h5> <div class="all-small-caps"><p>Program VI<br> <a href="https://www.waseda.jp/culture/news/2024/02/22/24367/">Tickets</a></p></div> </div> </section><h1 id="films-programs" class="scroll-mt-6" data-section="">Films & Programs</h1> <section> <h3 class="pb-lh-0.5 pt-lh-0.5 text-center">Program I</h3> <ul class="space-y-1.5 divide-y divide-y-white border-t border-t-white film-group"> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Dull Sword</em> (<em>Namakura gatana</em>), Japan, 1917</div> <div class="whitespace-nowrap pr-6 all-small-caps">5 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka</div> <div><p>An overly-confident samurai looks for unsuspecting victims on which to try out his new sword but neither his targets nor his weapon prove willing to play along. <em>The Dull Sword </em>is the oldest known surviving example of moving image <em>anime</em>, simply drawn but highly expressive in its satirical take on period genre conventions.</p></div> <div class="all-small-caps">DCP, silent, tinted, 5 min. Director: Junichi Kōchi. DCP courtesy of the National Film Archive of Japan.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>A Straightforward Boy </em>(<em>Tokkan kozō</em>), Japan, 1929</div> <div class="whitespace-nowrap pr-6 all-small-caps">21 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Hideyuki Yamashiro</div> <div><p>Precocious children often take center stage in the works of Japanese master Ozu Yasujirō (<em>I Was Born But…</em>, <em>Good Morning</em>) with this fragment of a silent comedy short offering an early glimpse of his felicity with childhood. Trouble abounds for a pair of kidnappers who underestimate the energies of their young abductee who quickly challenges their patience for the job. This version includes seven more minutes than the previously known extant versions thanks to a newly-discovered print. </p></div> <div class="all-small-caps">DCP, silent, tinted, 21 min. Director: Ozu Yasujirō. Screenwriters: Tadao Ikeda, Chuji Nozu. With: Tatsuo Saitō, Tomio Aoki, Takeshi Sakamoto.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Golden Flower </em>(<em>Kogane no hana</em>), Japan, 1929</div> <div class="whitespace-nowrap pr-6 all-small-caps">17 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Kumiko Ōmori</div> <div><p>This charming example of stop-motion collage tells the story of a ceremonial dancer who encounters a demon serpent in the hills while on his way home after performing at a harvest festival. He escapes the encounter and returns with a group of villagers to destroy the creature but its spirit has the last laugh. Produced by studio Chiyogami Eiga-sha, <em>The Golden Flower </em>suggests the rich variety of styles being explored by early Japanese animators.</p></div> <div class="all-small-caps">35mm, silent, 17 min. Director: Noburō Ōfuji.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Water Magician </em>(<em>Taki no shiraito</em>), Japan, 1933</div> <div class="whitespace-nowrap pr-6 all-small-caps">102 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Kumiko Ōmori</div> <div><p>The elements of director Kenji Mizoguchi’s mature style are evident everywhere in this galvanizing melodrama adapted from a novel by Kyōka Izumi. High angle shots and sweeping camera movements lend a distinctly modern dynamism to the story of a woman (Takako Irie) who sacrifices everything she has to ensure the future of a young man (Tokihiko Okada) who captures her imagination. Irie delivers a powerful, moving performance as a theater performer whose good deed leads to tragedy as Mizoguchi (<em>Ugetsu</em>, <em>The Life of Oharu</em>) interrogates the shifting strata of Japanese society. Of course, benshi played an essential role in the original release of <em>The Water Magician </em>in Japan but the benshi of a generation later played an equally important role in the film’s restoration in 2006.</p></div> <div class="all-small-caps">DCP, silent, 102 min. Director: Kenji Mizoguchi. Screenwriters: Kennosuke Tateoka, Yasunaga Higashibōjō, Shinji Masuda. With: Takako Irie, Tokihiko Okada, Ichirō Sugai. DCP courtesy of the National Film Archive of Japan.</div> </div> </details> </div> </li> </ul> </section> <section> <h3 class="pb-lh-0.5 pt-lh-0.5 text-center">Program II</h3> <ul class="space-y-1.5 divide-y divide-y-white border-t border-t-white film-group"> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Dull Sword</em> (<em>Namakura gatana</em>), Japan, 1917</div> <div class="whitespace-nowrap pr-6 all-small-caps">5 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Kumiko Ōmori</div> <div><p>An overly-confident samurai looks for unsuspecting victims on which to try out his new sword but neither his targets nor his weapon prove willing to play along. <em>The Dull Sword </em>is the oldest known surviving example of moving image <em>anime</em>, simply drawn but highly expressive in its satirical take on period genre conventions.</p></div> <div class="all-small-caps">DCP, Silent, Tinted, 5 Min. Director: Kōchi Jun’ichi. DCP courtesy of the National Film Archive of Japan.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>An Unforgettable Grudge </em>(<em>Bakumatsu kenshi: chōkon</em>)<em>,</em> Japan, 1926</div> <div class="whitespace-nowrap pr-6 all-small-caps">15 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Hideyuki Yamashiro</div> <div><p>Only the final reel of this samurai melodrama from director Daisuke Itō survives today which is enough to suggest the enormity of the loss. An Edo-set story of samurai brothers who fall in love with the same woman, it culminates with a ferocious sword fight between the spurned brother and an army of warriors, as action-packed a film fragment as you’re ever likely to see.</p></div> <div class="all-small-caps">DCP, silent, tinted, 15 min. Director: Daisuke Itō. Screenwriter: With: Daisuke Itō. Denjirō Ōkōchi Yayoi Kawakami, Yuzuru Kume. DCP courtesy of the National Film Archive of Japan.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Blood Spattered Takadanobaba</em> (<em>Chikemuri Takadanobaba</em>), Japan, 1928</div> <div class="whitespace-nowrap pr-6 all-small-caps">12 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Hideyuki Yamashiro</div> <div><p>Star Denjirō Ōkōchi and director Daisuke Itō helped remake the <em>chambara </em>genre in the late 1920s, infusing it with visual flash and mythic power. Sadly, the films of theirs that survive exist mostly in fragmentary form. Such is the case with <em>Blood Spattered Takadanobaba</em>. In this brief scene, the rōnin Yasube comes home drunk to a letter from his uncle requesting assistance fighting off a band of villainous samurai. Yasube races to his uncle’s side and joins the battle already in violent progress! So that audiences can experience more directly how a benshi’s specific style can influence a film, <em>Blood Spattered Takadanobaba </em>will be repeated over the course of this series with a different benshi narrating each time.</p></div> <div class="all-small-caps">Print courtesy of the Toy Film Museum. DCP, b/w, silent, intertitles in Japanese with English subtitles, 12 min. Director/Screenwriter: Daisuke Itō. Cast: Denjirō Ōkōchi, En'ichirō Jitsukawa, Harue Ichikawa.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Blood Spattered Takadanobaba</em> (<em>Chikemuri Takadanobaba</em>), Japan, 1928</div> <div class="whitespace-nowrap pr-6 all-small-caps">12 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Kumiko Ōmori</div> <div><p>Star Denjirō Ōkōchi and director Daisuke Itō helped remake the <em>chambara </em>genre in the late 1920s, infusing it with visual flash and mythic power. Sadly, the films of theirs that survive exist mostly in fragmentary form. Such is the case with <em>Blood Spattered Takadanobaba</em>. In this brief scene, the rōnin Yasube comes home drunk to a letter from his uncle requesting assistance fighting off a band of villainous samurai. Yasube races to his uncle’s side and joins the battle already in violent progress! So that audiences can experience more directly how a benshi’s specific style can influence a film, <em>Blood Spattered Takadanobaba </em>will be repeated over the course of this series with a different benshi narrating each time.</p></div> <div class="all-small-caps">Print courtesy of the Toy Film Museum. DCP, b/w, silent, intertitles in Japanese with English subtitles, 12 min. Director/Screenwriter: Daisuke Itō. Cast: Denjirō Ōkōchi, En'ichirō Jitsukawa, Harue Ichikawa.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Orochi</em>, Japan, 1925</div> <div class="whitespace-nowrap pr-6 all-small-caps">101 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka</div> <div><p>Tsumasaburō Bandō, one of Japan’s earliest screen idols, plays a masterless samurai, forced to become a gangster’s bodyguard in this dazzling <em>jidaigeki </em>(period drama). Japanese film critic Junichiro Tanaka praised it in the pages of <em>Kinema Junpo </em>in 1952, particularly its bravura, climactic chase scene, in which the “cinematic beauty of light, shadow, and movement flows into the screen along with Tsumasaburo’s sword fighting.”</p></div> <div class="all-small-caps">DCP, b&w, silent with Japanese intertitles, 101 min. Director: Buntarō Futagawa. Screenwriter: Rokuhei Susukita. Cast: Tsumasaburō Bandō, Misao Seki, Misao Tamaki.</div> </div> </details> </div> </li> </ul> </section> <section> <h3 class="pb-lh-0.5 pt-lh-0.5 text-center">Program III</h3> <ul class="space-y-1.5 divide-y divide-y-white border-t border-t-white film-group"> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Sanji Goto—The Japanese Enoch Arden </em>(<em>Narikin</em>), Japan, 1918</div> <div class="whitespace-nowrap pr-6 all-small-caps">35 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Hideyuki Yamashiro</div> <div><p>Billed as the “the first ever Japanese production of its kind,” <em>Sanji Goto </em>holds a fascinating place in international film history. After training as an actor with Thomas Ince, director Kisaburō “Thomas” Kurihara returned to Japan to make films for export to the U.S. beginning with this slapstick comedy. Iwajiro Nakajima, “the Japanese Charlie Chaplin,” stars as an guileless janitor who journeys to the States on the chance of inheriting a fortune. Sadly, the film survives only as a fragment.</p></div> <div class="all-small-caps">DCP, silent, 35 min. Director: Harry Williams, Kisaburō Kurihara. With: Iwajiro Nakajima, Goro Kino, Miyo Suzuki. DCP courtesy of the National Film Archive of Japan.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Jiraiya the Hero </em>(<em>Gōketsu Jiraiya</em>), Japan, 1921</div> <div class="whitespace-nowrap pr-6 all-small-caps">21 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka, Kumiko Ōmori, Hideyuki Yamashiro</div> <div><p>The first star of the Japanese screen, Matsunosuke Onoe plays the title character, a shape-shifting ninja who battles his enemies with an arsenal of magic, which includes transforming himself into a giant toad. Based on a famous folktale, <em>Jiraiya the Hero </em>was one Japan’s earliest “trick films” and survives today as a fragment featuring a series of loosely connected fight scenes.</p></div> <div class="all-small-caps">DCP, b/w, silent, intertitles in Japanese with English subtitles, 21 min. Director: Shōzo Makino. Cast: Matsunosuke Onoe, Suminojo Ichikawa, Kijaku Ōtani. DCP courtesy of the National Film Archive of Japan.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Our Pet</em>, U.S.A, 1924</div> <div class="whitespace-nowrap pr-6 all-small-caps">11 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Kumiko Ōmori</div> <div><p>Diana Serra Cary, better known by her screen name, Baby Peggy, was only 19 months old when director Fred Fishback cast her in a series of comedy shorts in 1921 alongside Brownie the Wonder Dog. By the following year, she was one of the biggest child stars in the world. In <em>Our Pet</em>, discovered at auction in 2016 by master benshi Ichirō Kataoka, Peggy is awakened from sleep by a series of burglars who quickly find themselves, in over their heads, <em>Home Alone</em>-style.</p></div> <div class="all-small-caps">DCP, b&w, silent with Japanese intertitles, 11 min. Director: Herman C. Raymaker. Screenwriter: Herman C. Raymaker. With: Baby Peggy, Newton Hall, Winston Radom.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>A Page of Madness</em> (<em>Kurutta ichipeiji</em>), Japan, 1926</div> <div class="whitespace-nowrap pr-6 all-small-caps">70 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka</div> <div><p>With a scenario devised by Japanese novelist (and later Nobel Prize winner) Yasunari Kawabata with contributions from other members of the radical literary movement known as <em>Shinkankakuha</em>, director Teinosuke Kinugasa crafted this visionary masterpiece that was thought lost for almost 50 years. Wracked with guilt, believing his wanton cruelty drove his wife insane, a husband becomes a janitor at the asylum where she’s incarcerated so he can care for her. When he comes to fear her illness may prevent their daughter from getting married, he gradually loses his own grip on reality. Replete with fantastical images, super impositions and rapid montage, the film subverts any sense of narrative coherence even as Kinugasa builds, according to critic Chris Fujiwara “an atmosphere of astonishing intensity.”</p></div> <div class="all-small-caps">DCP, silent, intertitles in Japanese with English subtitles, 70 min. Director: Teinosuke Kinugasa. Screenwriter: Yasunari Kawabata, Teinosuke Kinugasa, Minoru Inuzuka, Bankō Sawada. With: Masao Inoue, Yoshie Nakagawa, Ayako Iijima.</div> </div> </details> </div> </li> </ul> </section> <section> <h3 class="pb-lh-0.5 pt-lh-0.5 text-center">Program IV</h3> <ul class="space-y-1.5 divide-y divide-y-white border-t border-t-white film-group"> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Dull Sword</em> (<em>Namakura gatana</em>), Japan, 1917</div> <div class="whitespace-nowrap pr-6 all-small-caps">5 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Hideyuki Yamashiro</div> <div><p>An overly-confident samurai looks for unsuspecting victims on which to try out his new sword but neither his targets nor his weapon prove willing to play along. <em>The Dull Sword </em>is the oldest known surviving example of moving image <em>anime</em>, simply drawn but highly expressive in its satirical take on period genre conventions.</p></div> <div class="all-small-caps">DCP, silent, tinted, 5 min. Director: Junichi Kōchi. DCP courtesy of the National Film Archive of Japan.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Immigrant</em>, U.S.A, 1917</div> <div class="whitespace-nowrap pr-6 all-small-caps">24 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Kumiko Ōmori</div> <div><p>One of seven films written and directed by Charlie Chaplin on the National Film Registry, <em>The Immigrant </em>follows the Tramp’s delightfully slapstick comic misadventures from the deck of a steamship sailing by the Statue of Liberty to the streets of America where penury and romance follow in short order. Working with essential onscreen collaborators Edna Purviance and Eric Campbell, Chaplin reworked the storyline and gags on the fly during production to craft this iconic comedy.</p></div> <div class="all-small-caps">DCP, b&w, silent, 24 min. Director: Charlie Chaplin. Screenwriter: Charlie Chaplin, Vincent Bryan, Maverick Terrell. With: Charlie Chaplin, Edna Purviance, Eric Campbell.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Not Blood Relations </em>(<em>Nasanu naka</em>), Japan, 1916</div> <div class="whitespace-nowrap pr-6 all-small-caps">12 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka, Kumiko Ōmori, Hideyuki Yamashiro</div> <div><p>Based on a contemporary set novel by Yanagawa Shun'yo, <em>Not Blood Relations </em>was adapted to the Japanese stage with multiple film versions to follow, including director Naruse Mikio’s take in 1932. Director Inoue Masao also stars in this 1916 adaption which follows the destruction of a businessman and his family as mounting scandals reawaken lingering hatreds and induce new crimes. This surviving fragment features three sequences from the original film, including its denouement. </p></div> <div class="all-small-caps">DCP, b&w, silent with Japanese intertitles, 12 min. Director: Inoue Masao. Cast: Inoue Masao, Kinoshita Kichinosuke, Akimoto Kikuya.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Oath of the Sword</em>, U.S.A., 1914</div> <div class="whitespace-nowrap pr-6 all-small-caps">31 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka</div> <div><p>The rediscovery of <em>The Oath of the Sword </em>in 2016 and its subsequent restoration by the Japanese American National Museum and George Eastman Museum brought a lost film back to the screen and illuminated a long overlooked facet of early film history. A tragic tale of ambition and love betrayed, it was produced by a Los Angeles-based company founded by Japanese immigrants and featured Japanese actors in the lead roles, making it the earliest known Asian American film production. </p></div> <div class="all-small-caps">DCP, tinted, silent, 31 min. Director: Frank Shaw. With: Tomi Morri, Miss Hisa Numa, Yutaka Abe. Restored by the Japanese American National Museum and George Eastman Museum. Funded by the National Film Preservation Foundation. Digital restoration from a 35mm nitrate print and 35mm safety negative from the George Eastman Museum collection was done at Eastman Museum Film Preservation Services and at Colorlab. DCP courtesy of George Eastman Museum.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Vindictive Snake </em>(<em>Shūnen no dokuja</em>), Japan, 1932</div> <div class="whitespace-nowrap pr-6 all-small-caps">71 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Hideyuki Yamashiro</div> <div><p>A vengeful ghost takes center stage in this rarely seen, early Japanese horror film shot in Okinawa and Hawaii. An immigrant story gone wrong, it stars Okinawan native Seizen Toguchi, who also wrote the script, as a husband who emigrates with his wife from Okinawa to Oahu where they find work on a sugarcane plantation. When she contracts leprosy, he abandons her and flees back to Japan only to be driven mad, years later, by her spirit, transformed into the serpent of the title. A seminal genre work with roots in Okinawan folklore, <em>The Vindictive Snake </em>is the oldest known narrative film shot in Okinawa.</p></div> <div class="all-small-caps">DCP, tinted, silent, 71 min. Director: Jirō Yoshino. Screenwriter: Seizen Toguchi. With: Seizen Toguchi.</div> </div> </details> </div> </li> </ul> </section> <section> <h3 class="pb-lh-0.5 pt-lh-0.5 text-center">Program V</h3> <ul class="space-y-1.5 divide-y divide-y-white border-t border-t-white film-group"> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Man and Wife</em>, U.S.A, 1923</div> <div class="whitespace-nowrap pr-6 all-small-caps">50 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Hideyuki Yamashiro</div> <div><p>The Perkins sisters are a study in contrasts: Dolly thrives in the rural setting of the family farm, while Dora chafes against it and restlessly dreams of a move to the big city. Following an argument with her father, Dora leaves for the beckoning metropolis, sparking a storyline replete with deception, bigamy, madness, and finally, reconciliation. Norma Shearer who plays Dolly would soon become a major star at MGM under the guidance of legendary producer Irving Thalberg. “A wild tale, wildly done on the screen,” as per <em>Variety</em>’s review at the time, <em>Man and Wife </em>is silent melodrama at its most satisfying.</p></div> <div class="all-small-caps">DCP, tinted & toned, 54 min. Director: John L. McCutcheon. Screenwriter: Leota Morgan. With: Maurice Costello, Gladys Leslie, Norma Shearer. Restoration funded by the National Film Preservation Foundation. Restored by UCLA Film & Television Archive from a 35mm tinted and toned nitrate print. Laboratory services by Roundabout Entertainment, Inc., FotoKem. Special thanks to Library of Congress.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Dog Heaven</em>, U.S.A., 1927</div> <div class="whitespace-nowrap pr-6 all-small-caps">32 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Kumiko Ōmori</div> <div><p>Pete the Pup, a.k.a. Pal, the Wonder Dog, the beloved American Staffordshire Terrier that starred in Hal Roach’s Our Gang comedies from 1924-1930, takes center stage in his own light-hearted story of love and betrayal. When his owner Joe (Joe Cobb) develops a young crush on Clarabelle (Annette De Kirby), Pete feels left out, becoming so dejected that he decides to end it all—to the delight of the local cats and kittens. Of course, Pete’s never in any real danger and a climatic race to the rescue ultimately set everything right.</p></div> <div class="all-small-caps">DCP, b/w, silent, 31 min. Director: Robert A. McGowan, Charles Oelze. Screenplay: H.M. Walker. With: Joe Cobb, Annette De Kirby, Jackie Condon. Restoration funded by The Louis B. Mayer Foundation. Restored by UCLA Film & Television Archive from a 35mm acetate fine grain master positive. Laboratory services by Roundabout Entertainment, Inc., The PHI Stoa Film Lab. Special thanks to Screen Media.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Sweetie</em>, U.S.A., 1923</div> <div class="whitespace-nowrap pr-6 all-small-caps">21 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka</div> <div><p>In this rags-to-riches tale, an orphaned and destitute Baby Peggy (a.k.a pioneering child star Diana Serra Cary) enlists the aid of a mischievous performing monkey to seek restitution for an elderly violinist. After an epic chase, she is adopted by a wealthy couple—then steals the spotlight at the evening social.</p></div> <div class="all-small-caps">DCP, b/w, silent, 21 min. Director: Alfred J. Goulding. Screenplay: Alfred J. Goulding. With: Baby Peggy, Jerry Mandy, Louise Lorraine. Preservation funded by The Packard Humanities Institute and David Stenn. Preserved by UCLA Film & Television Archive in cooperation with Filmarchiv Austria, Lobster Films, and The Museum of Modern Art from a 35mm nitrate print and two 16mm prints. Laboratory services by The Stanford Theatre Film Laboratory. Special thanks to: David Shepard.</div> </div> </details> </div> </li> </ul> </section> <section> <h3 class="pb-lh-0.5 pt-lh-0.5 text-center">Program VI</h3> <ul class="space-y-1.5 divide-y divide-y-white border-t border-t-white film-group"> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Not Blood Relations </em>(<em>Nasanu naka</em>), Japan, 1916</div> <div class="whitespace-nowrap pr-6 all-small-caps">12 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka, Kumiko Ōmori, Hideyuki Yamashiro</div> <div><p>Based on a contemporary set novel by Yanagawa Shun'yo, <em>Not Blood Relations </em>was adapted to the Japanese stage with multiple film versions to follow, including director Naruse Mikio’s take in 1932. Director Inoue Masao also stars in this 1916 adaption which follows the destruction of a businessman and his family as mounting scandals reawaken lingering hatreds and induce new crimes. This surviving fragment features three sequences from the original film, including its denouement.</p></div> <div class="all-small-caps">DCP, b&w, silent with Japanese intertitles, 12 min. Director: Inoue Masao. Cast: Inoue Masao, Kinoshita Kichinosuke, Akimoto Kikuya.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>The Oath of the Sword</em>, U.S.A., 1914</div> <div class="whitespace-nowrap pr-6 all-small-caps">31 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka</div> <div><p>The rediscovery of <em>The Oath of the Sword </em>in 2016 and its subsequent restoration by the Japanese American National Museum and George Eastman Museum brought a lost film back to the screen and illuminated a long overlooked facet of early film history. A tragic tale of ambition and love betrayed, it was produced by a Los Angeles-based company founded by Japanese immigrants and featured Japanese actors in the lead roles, making it the earliest known Asian American film production.</p></div> <div class="all-small-caps">Restored by the Japanese American National Museum and George Eastman Museum. Funded by the National Film Preservation Foundation. Digital restoration from a 35mm nitrate print and 35mm safety negative from the George Eastman Museum collection was done at Eastman Museum Film Preservation Services and at Colorlab. DCP courtesy of George Eastman Museum.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Sweetie</em>, U.S.A., 1923</div> <div class="whitespace-nowrap pr-6 all-small-caps">21 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Kumiko Ōmori</div> <div><p>In this rags-to-riches tale, an orphaned and destitute Baby Peggy (a.k.a pioneering child star Diana Serra Cary) enlists the aid of a mischievous performing monkey to seek restitution for an elderly violinist. After an epic chase, she is adopted by a wealthy couple—then steals the spotlight at the evening social.</p></div> <div class="all-small-caps">DCP, b/w, silent, 21 min. Director: Alfred J. Goulding. Screenplay: Alfred J. Goulding. With: Baby Peggy, Jerry Mandy, Louise Lorraine. Preservation funded by The Packard Humanities Institute and David Stenn. Preserved by UCLA Film & Television Archive in cooperation with Filmarchiv Austria, Lobster Films, and The Museum of Modern Art from a 35mm nitrate print and two 16mm prints. Laboratory services by The Stanford Theatre Film Laboratory. Special thanks to: David Shepard.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Blood Spattered Takadanobaba</em> (<em>Chikemuri Takadanobaba</em>), Japan, 1928</div> <div class="whitespace-nowrap pr-6 all-small-caps">12 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Hideyuki Yamashiro</div> <div><p>Star Denjirō Ōkōchi and director Daisuke Itō helped remake the <em>chambara </em>genre in the late 1920s, infusing it with visual flash and mythic power. Sadly, the films of theirs that survive exist mostly in fragmentary form. Such is the case with <em>Blood Spattered Takadanobaba</em>. In this brief scene, the rōnin Yasube comes home drunk to a letter from his uncle requesting assistance fighting off a band of villainous samurai. Yasube races to his uncle’s side and joins the battle already in violent progress! So that audiences can experience more directly how a benshi’s specific style can influence a film, <em>Blood Spattered Takadanobaba </em>will be repeated over the course of this series with a different benshi narrating each time.</p></div> <div class="all-small-caps">Print courtesy of the Toy Film Museum. DCP, b/w, silent, intertitles in Japanese with English subtitles, 12 min. Director/Screenwriter: Daisuke Itō. Cast: Denjirō Ōkōchi, En'ichirō Jitsukawa, Harue Ichikawa.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>A Straightforward Boy </em>(<em>Tokkan kozō</em>), Japan, 1929</div> <div class="whitespace-nowrap pr-6 all-small-caps">21 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka</div> <div><p>Precocious children often take center stage in the works of Japanese master Ozu Yasujirō (<em>I Was Born But…</em>, <em>Good Morning</em>) with this fragment of a silent comedy short offering an early glimpse of his felicity with childhood. Trouble abounds for a pair of kidnappers who underestimate the energies of their young abductee who quickly challenges their patience for the job. This version includes seven more minutes than the previously known extant versions thanks to a newly-discovered print. </p></div> <div class="all-small-caps">DCP, silent, tinted, 21 min. Director: Ozu Yasujirō. Screenwriters: Tadao Ikeda, Chuji Nozu. With: Tatsuo Saitō, Tomio Aoki, Takeshi Sakamoto.</div> </div> </details> </div> </li> <li class="grid grid-cols-7 gap-y-3 gap-x-6"> <div class="col-span-full text-xl pt-3"> <details class="film-accordion"> <summary> <div class="flex gap-3 relative"> <div class="flex-1 film-title"><em>Jiraiya the Hero </em>(<em>Gōketsu Jiraiya</em>), Japan, 1921</div> <div class="whitespace-nowrap pr-6 all-small-caps">21 min</div> <div class="absolute right-0 top-0"><span class="summary-indicator"></span></div> </div> </summary> <div class="pt-lh-0.5"> <div>Performed by: Ichirō Kataoka, Kumiko Ōmori, Hideyuki Yamashiro</div> <div><p>The first star of the Japanese screen, Matsunosuke Onoe plays the title character, a shape-shifting ninja who battles his enemies with an arsenal of magic, which includes transforming himself into a giant toad. Based on a famous folktale, <em>Jiraiya the Hero </em>was one Japan’s earliest “trick films” and survives today as a fragment featuring a series of loosely connected fight scenes.</p></div> <div class="all-small-caps">DCP, b/w, silent, intertitles in Japanese with English subtitles, 21 min. Director: Shōzo Makino. Cast: Matsunosuke Onoe, Suminojo Ichikawa, Kijaku Ōtani. DCP courtesy of the National Film Archive of Japan.</div> </div> </details> </div> </li> </ul> </section> <h1 id="performers" class="scroll-mt-6" data-section="">Performers</h1> <section class="grid grid-cols-2 md:grid-cols-3 gap-x-6 gap-y-8" data-component=""> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/3dbb3dcf0d-1705624385/performers_0000_kataoka-ichiro-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/3dbb3dcf0d-1705624385/performers_0000_kataoka-ichiro-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/3dbb3dcf0d-1705624385/performers_0000_kataoka-ichiro-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Ichirō Kataoka</h4> <div class="text-xl italic pr-3">Lead Benshi</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/5d9d396ebf-1705624380/performers_0001_omori-kumiko-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/5d9d396ebf-1705624380/performers_0001_omori-kumiko-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/5d9d396ebf-1705624380/performers_0001_omori-kumiko-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Kumiko Ōmori</h4> <div class="text-xl italic pr-3">Benshi</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/ab1612bce6-1705624401/performers_0002_yamashiro-hideyuki-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/ab1612bce6-1705624401/performers_0002_yamashiro-hideyuki-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/ab1612bce6-1705624401/performers_0002_yamashiro-hideyuki-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Hideyuki Yamashiro</h4> <div class="text-xl italic pr-3">Benshi</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/6bf829dec1-1705624399/performers_0003_yuasa-joichi-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/6bf829dec1-1705624399/performers_0003_yuasa-joichi-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/6bf829dec1-1705624399/performers_0003_yuasa-joichi-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Jōichi Yuasa</h4> <div class="text-xl italic pr-3">Conductor and Shamisen Player</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/6d39716e06-1705624376/performers_0004_katada-kiisa-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/6d39716e06-1705624376/performers_0004_katada-kiisa-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/6d39716e06-1705624376/performers_0004_katada-kiisa-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Kiisa Katada</h4> <div class="text-xl italic pr-3">Drums</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/483f88404d-1705624394/performers_0005_katada-kisayo-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/483f88404d-1705624394/performers_0005_katada-kisayo-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/483f88404d-1705624394/performers_0005_katada-kisayo-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Kisayo Katada</h4> <div class="text-xl italic pr-3">Drums</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/6ee5d29af5-1705624400/performers_0006_kinoshita-ryoko-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/6ee5d29af5-1705624400/performers_0006_kinoshita-ryoko-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/6ee5d29af5-1705624400/performers_0006_kinoshita-ryoko-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Ryōko Kinoshita</h4> <div class="text-xl italic pr-3">Violin</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/d40609b8b8-1705624380/performers_0007_matsumura-makia-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/d40609b8b8-1705624380/performers_0007_matsumura-makia-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/d40609b8b8-1705624380/performers_0007_matsumura-makia-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Makia Matsumura</h4> <div class="text-xl italic pr-3">Piano</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/370dc9261a-1705624403/performers_0008_suzuki-makiko-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/370dc9261a-1705624403/performers_0008_suzuki-makiko-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/370dc9261a-1705624403/performers_0008_suzuki-makiko-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; transition: opacity 0.5s;"> </div> </figure> <h4 class="text-xl pr-3">Makiko Suzuki</h4> <div class="text-xl italic pr-3">Flute</div> </article> <article class="text-center"> <figure class="mb-3"> <div class="image-ratio relative" style="padding-top:125%"> <img srcset="https://artofthebenshi.org/media/pages/home/4058b1093c-1705624392/performers_0009_tambara-kaname-500x.jpg 500w, https://artofthebenshi.org/media/pages/home/4058b1093c-1705624392/performers_0009_tambara-kaname-1000x.jpg 1000w, https://artofthebenshi.org/media/pages/home/4058b1093c-1705624392/performers_0009_tambara-kaname-1500x.jpg 1500w" alt="" loading="lazy" class="w-full h-full absolute top-0 left-0 object-center object-cover" style="opacity: 0; 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Featuring more than 300 images from archives and private collections around the world, this beautiful, approachable volume will captivate anyone with an interest in film.</p> </div> <div class="text-xl text-center"> <p>8 × 10.5 in (20.5 × 26.5 cm), Hardcover, 304 pages</p> </div> </div> </section><h1 id="organizers" class="scroll-mt-6" data-section="">Organizers</h1> <h2 id="about-the-yanai-initiative" class="scroll-mt-6">About the Yanai Initiative</h2> <p>The Yanai Initiative for Globalizing Japanese Humanities is a collaborative project of UCLA and Waseda University in Tokyo, established in 2014 to realize a sustainable, equitable, globally interconnected future for the Japanese humanities. Its activities include the advancement of scholarship on Japanese, literature and the arts; support for literary translation; public programs on performance, film, design, music, art, food, and architecture; and the creation of digital educational content and smartphone apps. For more information, please visit <a href="http://yanai-initiative.ucla.edu/." target="_blank" title="yanai-initiative.ucla.edu">yanai-initiative.ucla.edu</a>.</p><h2 id="about-the-ucla-film-amp-television-archive" class="scroll-mt-6">About the UCLA Film & Television Archive</h2> <p>A division of UCLA Library, the Archive is internationally renowned for rescuing, preserving and showcasing moving image media and is dedicated to ensuring that the visual achievements of our time are available for information, education and enjoyment. The Archive has over 500,000 film and television holdings conserved in a state-of-the-art facility at the Packard Humanities Institute Stoa in Santa Clarita, CA, that is designed to hold materials ranging from nitrate film to digital video at all preservation standards. Many of the Archive’s projects are screened at prestigious film events around the globe. For more information, please visit <a href="https://www.cinema.ucla.edu" target="_blank">cinema.ucla.edu</a>.</p> </div> <footer class="pb-8 px-6 md:px-8 md:pb-6 flex justify-between items-end"> <div class="all-small-caps"><a href="/@/page/fsjZrFT7vCWukHST">Press Resources & Media Inquiries</a></div> <a href="https://www.nfaj.go.jp/english/"> <img src="/assets/NFAJlogo_white.png" class="w-24 h-auto" style="opacity: 1; transition: opacity 0.5s;"> </a> </footer> <!-- <footer class="pb-10 px-6 md:pb-6 text-center space-y-3"> <a href="https://www.nfaj.go.jp/english/" class="inline-block"> <img src="/assets/NFAJlogo_white.png" class="w-24 h-auto" /> </a> <div class="all-small-caps"><a href="/@/page/fsjZrFT7vCWukHST">Press Resources & Media Inquiries</a></div> </footer> --> </div> </main> <script src="https://artofthebenshi.org/assets/bundle.js?v=1705635434"></script> </body></html>
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