Shaky camera
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| - | '''''Yakuza film'''''|ヤクザ映画|yakuza eiga}} is a popular [[film genre]] in [[Cinema of Japan|Japanese cinema]] which focuses on the lives and dealings of ''[[yakuza]]'', also referred to as the [[Japan]]ese [[Mafia]]. | + | '''Shaky camera''', '''shaky cam''', '''jerky camera''', '''queasy cam''', '''run-and-gun''' or '''free camera''' is a [[cinematographic]] technique where [[Image stabilization|stable-image techniques]] are purposely dispensed with. It is a [[hand-held camera]], or given the appearance of being hand-held, and in many cases [[Shot (filmmaking)|shots]] are limited to what one photographer could have accomplished with one camera. Shaky cam is often employed to give a film sequence an [[ad hoc]], [[electronic news-gathering]], or [[documentary film]] feel. It suggests unprepared, unrehearsed filming of reality, and can provide a sense of dynamics, immersion, instability or nervousness. |
| - | + | ==See also== | |
| - | ==Ninkyo eiga== | + | *[[Direct cinema]] |
| - | ''Ninkyo eiga'', or "chivalry films", were the first type of yakuza films. Most were produced by the [[Toei Company|Toei]] studio in the 1960s. The [[kimono]]-clad yakuza hero of the ninkyo films (personified by the stoic [[Ken Takakura]]) was always portrayed as an honorable outlaw torn between the contradictory values of ''giri'' (duty) and ''ninjo'' (personal feelings). | + | *[[Dutch angle]] |
| - | + | *[[Found footage (pseudo-documentary)]] | |
| - | ==Jitsuroku eiga== | + | *[[Jump cut]] |
| - | In the 1970s, a new breed of yakuza eiga emerged, the ''jitsuroku'' series, or [[Docudrama]]. Many jitsuroku eiga were based on true stories, and filmed in a [[documentary]] style with [[Shaky camera|Handy Movie Camera]]. This genre was popularized by [[Kinji Fukasaku]]'s groundbreaking yakuza epic ''[[Battles Without Honor and Humanity]]''. This film, which spawned four sequels, portrayed the post-[[Pacific War|War]] yakuza not as the honorable heirs to the samurai code, but as ruthless, treacherous street thugs. The films star [[Bunta Sugawara]] (often thought of as the anti-Ken Takakura) as a sneering ex-soldier who rises to power in the bombed-out [[Hiroshima]] underworld. | + | *[[Pan and scan]] |
| - | + | *[[Tilt (camera)]] | |
| - | ==Recent developments== | + | |
| - | In the 1990s, yakuza movies in Japan declined. Now, many are low-budget direct-to-video movies. One exception has been the critically acclaimed films of [[Takeshi Kitano]], whose [[existentialism|existential]] yakuza movies are well known around the world. | + | |
| - | + | ||
| - | ==Prominent actors== | + | |
| - | * [[Noboru Ando]] | + | |
| - | * [[Akira Kobayashi]] | + | |
| - | * [[Toshirō Mifune]] | + | |
| - | * [[Joe Shishido]] | + | |
| - | * [[Bunta Sugawara]] | + | |
| - | * [[Ken Takakura]] | + | |
| - | * [[Takeshi Kitano]] | + | |
| - | * [[Susumu Terajima]] | + | |
| - | * [[Ren Osugi]] | + | |
| - | * [[Shingo Yamashiro]] | + | |
| - | + | ||
| - | ==Selected films== | + | |
| - | * ''[[Drunken Angel]]'' ([[Akira Kurosawa]], 1948) | + | |
| - | * ''[[Yojimbo (film)|Yojimbo]]'' ([[Akira Kurosawa]], 1961) | + | |
| - | * ''[[Pale Flower]]'' ([[Masahiro Shinoda]], 1964) | + | |
| - | * ''[[Abashiri Prison (film)|Abashiri Prison]]'' ([[Teruo Ishii]], 1965) | + | |
| - | * ''[[Tokyo Drifter]]'' ([[Seijun Suzuki]], 1966) | + | |
| - | * ''[[Branded to Kill]]'' ([[Seijun Suzuki]], 1967) | + | |
| - | * ''[[Sympathy for the Underdog]]'' ([[Kinji Fukasaku]], 1971) | + | |
| - | * ''[[Street Mobster]]'' (Kinji Fukasaku, 1972) | + | |
| - | * ''[[Battles Without Honor and Humanity]]'' (Kinji Fukasaku, 1973) | + | |
| - | * ''[[Jailbreak Hiroshima murder prisoner]]'' ([[Sadao Nakajima]], 1974) | + | |
| - | * ''[[The Yakuza]]'' ([[Sydney Pollack]], 1975) | + | |
| - | * ''[[Riot Shimane prison]]'' (Sadao Nakajima, 1975) | + | |
| - | * ''[[Osaka blitzkrieg]]'' (Sadao Nakajima, 1976) | + | |
| - | * ''[[Black Rain (American film)|Black Rain]]'' ([[Ridley Scott]], 1989) | + | |
| - | * ''[[Boiling Point (1990 film)|Boiling Point]]'' ([[Takeshi Kitano]], 1990) | + | |
| - | * ''[[Minbo]]'' ([[Juzo Itami]], 1992) | + | |
| - | * ''[[Sonatine]]'' (Takeshi Kitano, 1993) | + | |
| - | * ''[[Kids Return]]'' (Takeshi Kitano, 1996) | + | |
| - | * ''[[Postman Blues]]'' ([[Sabu (director)|Sabu]], 1997) | + | |
| - | * ''[[Hana-bi]]'' ([[Takeshi Kitano]], 1997) | + | |
| - | * ''[[Dead or Alive (film)|Dead or Alive]]'' ([[Takashi Miike]], 1999) | + | |
| - | * ''[[Brother (2000 film)|Brother]]'' ([[Takeshi Kitano]], 2000) | + | |
| - | * ''[[Ichi The Killer]]'' ([[Takashi Miike]], 2001) | + | |
| - | * ''[[Gozu]]'' ([[Takashi Miike]], 2003) | + | |
| - | * ''[[Outrage (2010 film)|Outrage]]'' ([[Takeshi Kitano]], 2010) | + | |
| - | * ''[[Outrage Beyond]]'' ([[Takeshi Kitano]], 2012) | + | |
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Shaky camera, shaky cam, jerky camera, queasy cam, run-and-gun or free camera is a cinematographic technique where stable-image techniques are purposely dispensed with. It is a hand-held camera, or given the appearance of being hand-held, and in many cases shots are limited to what one photographer could have accomplished with one camera. Shaky cam is often employed to give a film sequence an ad hoc, electronic news-gathering, or documentary film feel. It suggests unprepared, unrehearsed filming of reality, and can provide a sense of dynamics, immersion, instability or nervousness.
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