Unspoken Cinema

Watch More Like This Film: Naked Island (Shindo) keywords = Desert + Farming + Surviving + Mutism (*) Non-Contemplative films *More stones: Man of Aran (1934/Flaherty) *More storm: Finis Terrae (1929/Epstein) *More storm: Le tempestaire (1947/Epstein) Short More animated: The Red Turtle (2016/Dudok De Wit) More mountains: Three Sisters (2012/Wang) More steppes: Tulpan (2008/Dvortsevoy) *More drama: Jean de Florette / Manon des sources (1986/Berri) More duration: Evolution of a Filipino Family (2004/Diaz) *More sand:  Woman in the Dunes  (1964/Teshigahara) More floating: All Is Lost (2013/Chandor) More fishing: The Isle (2000/Kim Kiduk) See also at Unspoken Cinema: CCC recommendations Unspoken Posters (5) Naked Island Naked Island (Kitsnik)

  Naked Island (1960/SHINDO/Japan) (Designed by Benoit Rouilly) See also at Unspoken Cinema: Naked Island (Kitsnik) More Like This (2) Naked Island

Contemporary Contemplative Cinema Frequently Asked Questions #8 :  Where to start with Contemplative Cinema ? For someone new to Contemplative Cinema, who has never heard of it and never watched any such film, I would recommend to pick one of the following titles suggested and give it a try, involving yourself with the most attentive dedication. These ten recommendations, ranked from most fun to most austere, are all pretty approachable and easily available. You may pick at random any of them to get a good grasp of Contemplative Cinema right away. Or you perhaps would want to watch them all in a row as the hypothetical line up of my fantasy festival… These films aren’t necessarily representative of a complete œuvre dedicated to Contemplative Cinema (unlike my list for iconic auteurs), however individually they embody the feel and soul of what this aesthetic stands for. Each of them is a new entry into this singular peaceful universe, with each a different style and genre. Their run...

A seminal film that presaged the 1960s boom of independent cinema in Japan, Shindo Kaneto’s The Naked Island (1960) also marked its director’s breakthrough to the international market. This article examines how the film’s depiction of primitive agrarian life, particularly the ‘authentic’ labouring bodies, relates to the notions of neorealism and ‘slow cinema’. Tracing its international influences, a comparison to Flaherty’s Man of Aran (1934) reveals how ‘poetical licence’ is an integral part of documentary film with ethnographical aspirations. Working outside the restrictive nature of the Japanese studio system, The Naked Island consolidated the director’s stripped-down and self-sufficient methods of independent filmmaking. After winning the Grand Prize at the Moscow International Film Festival, it also brought him a considerable following amidst the geopolitical tensions of the Cold War. abstract from Real and slow: The poetics and politics o...