In Japonisme and the Birth of Cinema, Daisuke Miyao explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualit� films made by the Lumi�re brothers between 1895 and 1905. Examining nearly 1,500 Lumi�re films, Miyao contends that more than being documents of everyday life, they provided a medium for experimenting with aesthetic and cinematic styles imported from Japan. Miyao further analyzes the Lumi�re films produced in Japan as a negotiation between French ...
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In Japonisme and the Birth of Cinema, Daisuke Miyao explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualit� films made by the Lumi�re brothers between 1895 and 1905. Examining nearly 1,500 Lumi�re films, Miyao contends that more than being documents of everyday life, they provided a medium for experimenting with aesthetic and cinematic styles imported from Japan. Miyao further analyzes the Lumi�re films produced in Japan as a negotiation between French Orientalism and Japanese aesthetics. The Lumi�re films, Miyao shows, are best understood within a media ecology of photography, painting, and cinema, all indebted to the compositional principles of Japonisme and the new ideas of kinetic realism it inspired. The Lumi�re brothers and their cinematographers shared the contemporaneous obsession among Impressionist and Post-Impressionist artists about how to instantly and physically capture the movements of living things in the world. Their engagement with Japonisme, he concludes, constituted a rich and productive two-way conversation between East and West.
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