Tsunekichi Shibata

出生 : 1850-01-01,

死亡 : 1929-01-01

略歴

Tsunekichi Shibata was one of Japan's first filmmakers. He worked for the photographer Shirō Asano and the Konishi Camera shop, the first in Japan to import a motion picture camera. Along with Kanzo Shirai, he took the earliest films in Japan, mostly of geisha, Ginza, and selections of scenes from popular plays. His first exhibition was at the Tokyo Kabuki-za in 1899. After that he focused mainly on Kabuki plays.

参加作品

砂糖菓子が壊れるとき
Lighting Technician
Japanese film directed by Tadashi Imai.
白い巨塔
Lighting Technician
誤診という名の殺人! 人の命を救うはずのメスが、野望のためにみがかれる! 医学界の封建的な人間関係、派閥抗争などを、野望に燃える浪速大学医学部第一外科助教授、財前五郎を中心に描く。
誰よりも君を愛す
Lighting Technician
Japanese "kayo" film centered around the song "Dare yori mo kimi wo aisu" by Kazuko Matsuo.
日本橋
Color Designer
Ichikawa's 1956 adaptation of Nihonbashi was the first to take the work of Kyoka Izumi— until then regarded as a writer of common tragic melodramas—and re-evaluate it as a tanbi-ha work of decadence, aestheticism, and intrigue. Ichikawa's film presents the tragic plot of the young geisha who is unable to enact her love for a man publicly in any way other than a histrionic story of torment, a heart-rending tale of lovers being crushed by fate. Instead, Ichikawa shows the contest of wills that transpires as two geisha, Oko and Kiyoha fight for the top spot in Nihonbashi, the pinnacle of the Tokyo geisha world. Nihonbashi is an elegant, if steely, exposition of manners. The young doctor, Shinzo Katsuragi, is the object of affection for both women, but appears to be more the choice reward for the plotting and thieving of these two early modern superwomen, than a lover they swoon over.
日本橋
Lighting Technician
Ichikawa's 1956 adaptation of Nihonbashi was the first to take the work of Kyoka Izumi— until then regarded as a writer of common tragic melodramas—and re-evaluate it as a tanbi-ha work of decadence, aestheticism, and intrigue. Ichikawa's film presents the tragic plot of the young geisha who is unable to enact her love for a man publicly in any way other than a histrionic story of torment, a heart-rending tale of lovers being crushed by fate. Instead, Ichikawa shows the contest of wills that transpires as two geisha, Oko and Kiyoha fight for the top spot in Nihonbashi, the pinnacle of the Tokyo geisha world. Nihonbashi is an elegant, if steely, exposition of manners. The young doctor, Shinzo Katsuragi, is the object of affection for both women, but appears to be more the choice reward for the plotting and thieving of these two early modern superwomen, than a lover they swoon over.
Une place publique à Tokyo
Camera Operator
Pedestrian traffic on a square, somewhere in Tokyo.
清水定吉(稲妻強盗)
Director
'Armed Robber Shimizu Sadakicchi' is considered Japan's debut film and came on the heels of the country obtaining its first film camera. It famously was only a couple of minutes' long as its film reel was only seventy feet long. It featured who is considered to be Japan's first film actor Unpei Yokoyama who was one of two actors in the film. It features one scene where a robber is apprehended by the police.
紅葉狩
Director
[…] A reel was shot of the Noh drama Momiji-gari (Maple Leaf Hunters, or Viewing Scarlet Maple Leaves), in which Danjuro played opposite Onoe Kikugoro V (1844-1903) as an ogress who has disguised herself as the Princess Sarashina. Filmed by Shibata Tsunekichi in the open air on a windy day in November 1899, Danjuro would allow only the one take, so that when his fan blew away in mid-performance the scene had to stay. The film re-emerged at the Kikikan theatre in 1907 where it was a great success and inspired a wave of fiction filmmaking based on traditional Japanese narratives. (cont. http://victorian-cinema.net/danjuro)
Ninin Dojoji
Director
Shot at the Kubut-za in Tokyo and a rare record of two classical kubuki actors, Onoe Eizaburo V and Ichimura Kakuki-za VI, A surviving poster for this film is illustrated by a woodblock print of the lead actors by ukiyo-e artist Yutaka Hitoshi, a frozen moment of the incipient transition from traditional art-forms of ukiyo-e and kabuki to the new, and all-dominating medium of katsudo-shashin (cinema).
Station du chemin de fer de Tokyo
Camera Operator
Rickshaws, trams and pedestrians traffic near the railway station in Tokyo.
Une avenue à Tokyo
Camera Operator
Rickshaws and pedestrians traffic on the street
Une rue à Tokyo, [II]
Camera Operator
Carts, pedestrians and bus traffic in the street.