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Noriko Smiling Hardcover – November 3, 2011


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Product Details

  • Hardcover
  • Publisher: Notting Hill Editions (November 3, 2011)
  • Language: English
  • ISBN-10: 1907903453
  • ISBN-13: 978-1907903458
  • Product Dimensions: 7.3 x 4.6 x 0.8 inches
  • Shipping Weight: 9.6 ounces
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,783,392 in Books (See Top 100 in Books)

Editorial Reviews

About the Author

Adam Mars-Jones has written non-fiction (Blind Bitter Happiness, 1997) and fiction including Lantern Lecture (1981), The Waters of Thirst (1993), Pilcrow (2008) and Cedilla (2011). He is currently working on the third novel in the Pilcrow series, to be called Caret. He reviewed films for the Independent between 1986 and 1997.

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Most Helpful Customer Reviews

4 of 4 people found the following review helpful By Patrick Mc Coy on October 4, 2013
Format: Hardcover Verified Purchase
I was inspired to read Adam Mars-Jones' book on Yasujiro Ozu's 1949 film Late Spring, Noriko Smiling (2010) after reading about it in Film Comment. I own the film so I watched it again before starting the book and I may have to go back and watch it again to confirm some of Mars' observations of the film that I couldn't corroborate. Most of the book is related to his observations and theories of the film, but clearly he has also read everything he could find in English about it and has a wealth of interesting things to say about this film, Ozu, Japan in 1949, censorship during the occupation, and even Akira Kurosawa. It turns out Kurosawa released his film noir master work (that I have written about in journal articles twice) Stray Dog in 1949 as well. Kurosawa also faced troubles with the censors and acted much the same as Ozu-following some suggestions and ignoring others. At any rate, Mars is not afraid of challenging celebrated critics: "When (Donald) Richie turns Ozu into a religious artist, to be approached only by the initiated, I think he's plain wrong. Sometimes works of art need to be defended against thier advocates, and great films rescued from their reputations. Masterpieces are not fragile but robust. They can stand up to more than a reverent dusting." He also has problems with Paul Schrader's focus on the Transcendent and says :" Sometimes Schrader seems like a true believer who will use thumbscrews on you if you don't accept the principle of non-attachment." He discusses a book by Lars-Martin Sorenson called Censorship of Japanese Films During the Occupation of Japan (2009) and reveals some interesting tidbits about this topic.Read more ›
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