| 词条 | Tazuko Sakane |
| 释义 |
| name = Tazuko Sakane | image = | caption = | birth_name = | birth_date = {{Birth date|1904|12|07|mf=y}} | birth_place = Kyoto, Japan | death_date = {{Death date and age|1975|9|02|1904|12|07|mf=y}} | death_place = Japan | other_names = | years_active = | spouse = | children = | awards = }}Tazuko Sakane (December 7, 1904 – September 2, 1975) was a Japanese film director.[1] She was Japan's first female director, followed by Kinuyo Tanaka. While growing up, her father, a wealthy businessman, often took her to the cinema.[1] She graduated from Nikkatsu Uzumaki girls school in 1929.[1] CareerAfter four years in an unhappy marriage, Tazuko Sakane's father paid her husband in exchange for Sakane's freedom. With the help of her father, she managed to get a job at the Nikkatsu Studio in Kyoto. She started out as Kenji Mizoguchi's assistant. During this time, Japan had just begun the transition between silent and sound film (1929-1935), and thus both silent and sound films were being produced and exhibited. Sakane's first job was to take notes during meetings in which the crew would brainstorm the story idea for Mistress of a Foreigner (1930), a "part-talkie" film. For this reason she was also responsible for assisting actors in memorizing their lines to ensure a correspondence between lip movements and the spoken dialogue. [2] Tazuko Sakane was introduced to Kenji Mizoguchi by her father. Impressed by Sakane's sensible character, Mizoguchi hired her as a script girl. During the first six months of her career Sakane worked unpaid, but was appreciated for her potential and continued to work for Mizogouchi as an assistant working on films such as Fujiwara Yoshie's Hometown(1930), And Yet They Go On(1931), and The Man of the Moment (1932). On set she did labor intensive work such as climbing ladders and crouching behind set pieces. This was highly inconvenient work to be performed in a kimono, so she took it upon herself to cut her hair short and begin wearing tailored pants and suits. This simultaneously allowed for greater mobility while also helping in her ability to blend into the male-dominated working environment.[3] Mizoguchi moved to Tokyo in 1932 to join the Shinko Kinema. During this time in history, when directors transferred to another studio, it was commonplace to have the disciple follow along. So, Sakane transferred with him, and there she notably edited The Water Magician (1933) which was her first work as an editor. Having worked on ten films with Mizoguchi as an assistant director, screenwriter and editor, she realized her qualifications and applied for a promotion to director. Unfortunately, rumors began to spread throughout the studio claiming suspicions that Sakane and Mizoguchi were having an affair, as her attempt to persuade him to get the promotion. For reasons unknown, she was rejected by the studio executives.[4] Denied work after the war (on the ground that she had to have a college degree to be a director), she was forced, at age forty-two, to return to Mizoguchi as a script girl.[1] She further moved to Manchuria to work as a director at the Manchuria Film Association (Manshu eiga kyokai).[5] During the war, she went to Manchuria for three years where she made 10 documentary films about the conditions in war torn Northeastern China. Only one of these films is known to be extant.[1] Her desire to direct films was made possible during the war, when she identified herself with the policies of colonialism. The social norms of women's professions and creativity were so limiting that reinforcing colonial discourse was one of few ways for Tazuko to stay in the industry.[5] Going back to Japan in 1946, she was hired to an assistant position of continuity keeping and editing at Shochiku studio, where she remained until she retired in 1962.[5] She was 46 years old when she retired.[1] LegacyBefore the 1980s, the hierarchical corporate structure of the major studios was a major barrier to women entering the industry in a creative capacity, with the scant handful of those who did direct hailing from an acting background, barring the freak exception of Japan's first woman director, Sakane Tazuko who made one feature, 1936's "Hatsu Sugata". Unfortunately, no prints of the film exist.[6] The first Japanese women to make films came from the circles around well-known male director Kenji Mizoguchi whose many films tended to centre on heroines.[7] Mizoguchi and his films about suffering women connect with current discussions about “women’s directors” and women directors. When dealing with this most patriarchal of national cinemas and its “feminine” qualities, questions of sexual politics arise. Take Mizoguchi’s unmentioned (in the text) relationship with Tazuko. Under his patronage, Sakane became Japan’s first and only female film director in the prewar period. Denied work after the war (on the ground that she had to have a college degree to be a director), she was forced, at age forty-two, to return to Mizoguchi as his script girl.[8] Her surviving production memos, scripts, and correspondence were donated to the Museum of Kyoto in 2004 in commemoration of the centennial of her birth. In the Sakane collection's file for The Downfall of Osen, roughly half of her records and Mizoguchi's one-page scribble of the sequence order survive.[9] Situated as a minority in the film industry, Sakane was nevertheless a privileged majority member of wartime society, as a Japanese national, and as a person who had some control over the mass media.[5] Personal lifeAt age 20, she entered into an arranged marriage with a doctor, but it quickly ended in divorce.[1] After the marriage ended, she decided to obtain a job instead of getting remarried.[5] She cut her hair short and wore masculine clothing in order to fit into her "male" occupation.[1] One of the problems that she confronted upon working was clothing. Instead of the traditional women’s clothes, the kimono, she had to instruct a tailor to create a pair of pants, which were absolutely new as women’s clothes those days, though necessary for her as they would allow her mobility in film shooting. She also cut short her conventionally long hair. Her appearance might have been seen as resembling the 1930s metropolitan fashion of the modern girl, which consisted of westernized clothing and short bobbed hair and was associated with feminine sexual deviancy. However, Sakane did not fit within this image of excessive femininity because of her pants. In fact, with her combination of pants and short hair, she was often referred to as a cross-dresser (danso; literally, male-clothing). Her appearance and working style (traveling and working irregular hours as the only woman among crews, when filmmaking was already regarded as a sordid profession) caused a sense of gender nonconformity.[5] When appearing in the media in 1930s and the early 1940s, she was treated as an exceptional case of a “woman director” and was always requested to speak about her “feminine” sensitivity or her “difference” from male director. Her presence as a director, her works, and her private life were reduced to the question of whether she had insufficient or excessive femininity.[5] FilmographyDirector
Sakane directed a total of 14 Non-fiction films, including:[5]
Assistant Director/Second Unit DirectorSakane worked as assistant director for the following films:[10]
EditorSakane worked as an editor on the following films:[10]
Bibliography or further reading{{cite book|editor= Hiroko Tomida|title=Japanese women : emerging from subservience, 1868–1945|year=2005|publisher=Global Oriental|location=Folkestone, Kent|isbn=1901903184|author=Daniels, Gordon}}References1. ^1 2 3 4 5 6 7 {{cite web|url=https://sites.google.com/site/japanesewomenbehindthescenes/directors/sakane-tazuko|title=SAKANE, Tazuko - Japanese Women Behind the Scenes|publisher=}} 2. ^{{Cite web|url=https://wfpp.cdrs.columbia.edu/pioneer/tazuko-sakane/|title=Tazuko Sakane – Women Film Pioneers Project|website=wfpp.cdrs.columbia.edu|access-date=2019-03-13}} 3. ^{{Cite web|url=https://wfpp.cdrs.columbia.edu/pioneer/tazuko-sakane/|title=Tazuko Sakane – Women Film Pioneers Project|website=wfpp.cdrs.columbia.edu|access-date=2019-03-13}} 4. ^{{Cite web|url=https://wfpp.cdrs.columbia.edu/pioneer/tazuko-sakane/|title=Tazuko Sakane – Women Film Pioneers Project|website=wfpp.cdrs.columbia.edu|access-date=2019-03-13}} 5. ^1 2 3 4 5 6 7 8 {{cite journal|last=Hori|first=Hikari H|title=Migration and Transgression: Female Pioneers of Documentary Filmmaking in Japan|journal=Asian Cinema Studies Society|year=2005|volume=16|issue=1|pages=89–97|doi=10.1386/ac.16.1.89_1}} 6. ^{{cite web|url=http://www.japantimes.co.jp/text/ff20090918r1.html|title=Women who love to shoot - The Japan Times|publisher=}} 7. ^{{cite web|url=http://www.femmetotale.de/ftalt/filminfo_e.htm|title=festival 1999 / the films|publisher=}} 8. ^{{cite journal|jstor=2056302|title=Review of Mizoguchi|first=J. L.|last=Anderson|date=1 January 1985|publisher=|volume=44|issue=3|pages=620–621|doi=10.2307/2056302}} 9. ^{{cite journal|last=Kinoshita|first=Chika|title=The Benshi Track: Mizoguchi Kenji's The Downfall of Osen and the Sound Transition|journal=Cinema Journal|year=2011|volume=50|issue=3|pages=1–25|url=http://muse.jhu.edu.oca.ucsc.edu/journals/cinema_journal/v050/50.3.kinoshita.html|accessdate=May 6, 2012|doi=10.1353/cj.2011.0025}} 10. ^1 {{cite web|url=https://www.imdb.com/name/nm0757119/|title=Tatsuko Sakane|publisher=IMDb}} External links
5 : Japanese film directors|1904 births|1975 deaths|People from Kyoto|Japanese women film directors |
| 随便看 |
|
开放百科全书收录14589846条英语、德语、日语等多语种百科知识，基本涵盖了大多数领域的百科知识，是一部内容自由、开放的电子版国际百科全书。