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Kihachirō Kawamoto is a Director, Scriptwriter and Series Director Japonais born on 11 january 1925 at Tokyo (Japon)
Kihachirō Kawamoto (川本 喜八郎, Kawamoto Kihachirō, January 11, 1925 – August 23, 2010) was a Japanese puppet designer and maker, independent film director, screenwriter and animator and president of the Japan Animation Association from 1989, succeeding founder Osamu Tezuka, until his own death. He is best-remembered in Japan as designer of the puppets for the long-running NHK live action television series of the Romance of the Three Kingdoms in the early 1980s and The Tale of the Heike in the 1990s but better-known internationally for his own animated short films, the majority of which are model animation but which also include the cutout animation Tabi and Shijin no Shōgai and mixed media, French-language Farce anthropo-cynique.
Since beginning his career in his early twenties as a production design assistant under So Matsuyama in the art department of Toho in 1946, he met Tadasu Iizawa and left the film studio in 1950 to collaborate with him on illustrating children's literature with Photographs of dolls in dioramas, many of which have been republished in English editions by such American publishers as Grosset & Dunlap and Western Publishing's Golden Books imprint, and trained in the art of stop motion filmmaking under Tadahito Mochinaga and, later, Jiří Trnka. He is also closely associated with Tadanari Okamoto, another independent with whom he collaborated in booking private halls in which to show their films to the public as the "Puppet Animashow" in the 1970s and whose last film, The Restaurant of Many Orders (注文の多い料理店, Chūmon no Ōi Ryōriten, 1991) was completed under Kawamoto following Okamoto's death during its production.
In 1958, he co-founded Shiba Productions to make commercial animation for television, but it was not until 1963, when he traveled to Prague to study puppet animation under Jiří Trnka for a year, that he considered his puppets to have truly began to take on a life of their own. Trnka encouraged Kawamoto to draw on his own country's rich cultural heritage in his work, and so Kawamoto returned from Czechoslovakia to make a series of highly individual, independently-produced artistic short works, beginning with Breaking of Branches is Forbidden (Hana-Ori) in 1968.
Heavily influence by the traditional aesthetics of Nō, Bunraku-style puppetry and kabuki, since the '70s his haunting puppet animations such as The Demon (Oni, 1972), Dōjōji Temple (Dōjōji, 1976) and House of Flame (Kataku, 1979) have won numerous prizes internationally. He has also produced cut-out (kirigami) animations such as Travel (Tabi, 1973) and A Poet's Life (Shijin no Shogai, 1974). In 1990 he returned to Trnka's studios in Prague to make Briar Rose, or The Sleeping Beauty.
In Japan, he is best known for designing the puppets used in the long-running TV series based on the Chinese literary classic Romance of the Three Kingdoms (Sangokushi, 1982–84), and later for The Tale of the Heike (Heike Monogatari, 1993–94). In 2003, he was responsible for overseeing the Winter Days (Fuyu no Hi) project, in which 35 of the world's top animators each worked on a two-minute segment inspired by the renka couplets of celebrated poet Matsuo Bashō.
The Book of the Dead (Shisha no Sho) is Kawamoto's only feature length animation, 1981's Rennyo and His Mother (Rennyo to Sono Haha) being a live-action puppet film. It had its world premiere as a part of a Special Retrospective Tribute at the 40th Karlovy Vary International Film Festival (July 1–9, 2005, Karlovy Vary, Czech Republic).
Source : Wikidata
Kihachirō Kawamoto
Birth name 川本 喜八郎
Nationality Japon
Birth 11 january 1925 at Tokyo (Japon)
Death 23 august 2010 (at 85 years)
Awards Annie Award, Ordre du Soleil levant de quatrième classe
Nationality Japon
Birth 11 january 1925 at Tokyo (Japon)
Death 23 august 2010 (at 85 years)
Awards Annie Award, Ordre du Soleil levant de quatrième classe
Since beginning his career in his early twenties as a production design assistant under So Matsuyama in the art department of Toho in 1946, he met Tadasu Iizawa and left the film studio in 1950 to collaborate with him on illustrating children's literature with Photographs of dolls in dioramas, many of which have been republished in English editions by such American publishers as Grosset & Dunlap and Western Publishing's Golden Books imprint, and trained in the art of stop motion filmmaking under Tadahito Mochinaga and, later, Jiří Trnka. He is also closely associated with Tadanari Okamoto, another independent with whom he collaborated in booking private halls in which to show their films to the public as the "Puppet Animashow" in the 1970s and whose last film, The Restaurant of Many Orders (注文の多い料理店, Chūmon no Ōi Ryōriten, 1991) was completed under Kawamoto following Okamoto's death during its production.
Biography
Born in 1925, from an early age Kawamoto was captivated by the art of doll and puppet making. After seeing the works of maestro Czech animator Jiří Trnka, he first became interested in stop motion puppet animation and during the '50s began working alongside Japan's first puppet animator, the legendary Tadahito Mochinaga.In 1958, he co-founded Shiba Productions to make commercial animation for television, but it was not until 1963, when he traveled to Prague to study puppet animation under Jiří Trnka for a year, that he considered his puppets to have truly began to take on a life of their own. Trnka encouraged Kawamoto to draw on his own country's rich cultural heritage in his work, and so Kawamoto returned from Czechoslovakia to make a series of highly individual, independently-produced artistic short works, beginning with Breaking of Branches is Forbidden (Hana-Ori) in 1968.
Heavily influence by the traditional aesthetics of Nō, Bunraku-style puppetry and kabuki, since the '70s his haunting puppet animations such as The Demon (Oni, 1972), Dōjōji Temple (Dōjōji, 1976) and House of Flame (Kataku, 1979) have won numerous prizes internationally. He has also produced cut-out (kirigami) animations such as Travel (Tabi, 1973) and A Poet's Life (Shijin no Shogai, 1974). In 1990 he returned to Trnka's studios in Prague to make Briar Rose, or The Sleeping Beauty.
In Japan, he is best known for designing the puppets used in the long-running TV series based on the Chinese literary classic Romance of the Three Kingdoms (Sangokushi, 1982–84), and later for The Tale of the Heike (Heike Monogatari, 1993–94). In 2003, he was responsible for overseeing the Winter Days (Fuyu no Hi) project, in which 35 of the world's top animators each worked on a two-minute segment inspired by the renka couplets of celebrated poet Matsuo Bashō.
The Book of the Dead (Shisha no Sho) is Kawamoto's only feature length animation, 1981's Rennyo and His Mother (Rennyo to Sono Haha) being a live-action puppet film. It had its world premiere as a part of a Special Retrospective Tribute at the 40th Karlovy Vary International Film Festival (July 1–9, 2005, Karlovy Vary, Czech Republic).
Usually with
Filmography of Kihachirō Kawamoto (2 films)
Director
Add to a movie list
The Book of the Dead (2006)
, 1h10Directed by Kihachirō Kawamoto
Genres Drama, Science fiction, Fantasy, Historical, Animation, Romance
Themes Films about religion, Films about Buddhism
Actors Tetsuko Kuroyanagi, Kyōko Kishida, Rie Miyazawa
Rating65%
The Book of the Dead is set in the Nara period at around 750 CE, the era when Buddhism was being introduced from China.
Winter Days (2003)
, 40minutesDirected by Raoul Servais, Isao Takahata, Iouri Norstein, Kihachirō Kawamoto, Kōji Yamamura, Mark Baker (animateur), Yōji Kuri, Co Hoedeman, Yōichi Kotabe, Jacques Drouin
Origin Japon
Genres Animation
Themes Poésie, Adaptation d'un poème
Actors Kyōko Kishida
Rating65%
Le film consiste en une série de 36 courts métrages d'une durée comprise entre 30 secondes et 2 minutes environ, chacun inspiré par l'une des strophes du poème. Entre les films, la strophe du film à venir s'affiche à l'écran et est lue par un narrateur ou une narratrice. Comme il est d'usage dans ce type de poème, le premier vers de chaque nouvelle strophe reprend le dernier vers de la strophe précédente. Le premier court métrage montre un groupe de poètes japonais réunis dans une maison et accueillant l'invité d'honneur qui, selon l'usage, compose la première strophe du renku ; c'est le seul à montrer les auteurs du poème. Les films suivants plongent dans l'univers d'images et de sensation évoqués par les strophes du poème. Le poème lui-même ne développe pas d'intrigue suivie ; il contient des éléments d'intrigue, mais ils restent très allusifs. Les courts métrages, de leur côté, ne présentent pas nécessairement une adaptation littérale du poème mais s'en inspirent plus ou moins librement. Les différents courts métrages ne comportent pas de paroles, seulement de la musique et des bruitages. Les techniques d'animation sont extrêmement variées, de même que les styles graphiques et le ton des différents films (ils sont tour à tour paisibles, angoissants, drôles, tristes, etc.). Le film proprement dit est suivi d'un documentaire de making of donnant des informations sur le poème d'origine et sur la production du film.
Scriptwriter
The Book of the Dead (2006)
, 1h10Directed by Kihachirō Kawamoto
Genres Drama, Science fiction, Fantasy, Historical, Animation, Romance
Themes Films about religion, Films about Buddhism
Actors Tetsuko Kuroyanagi, Kyōko Kishida, Rie Miyazawa
Rating65%
The Book of the Dead is set in the Nara period at around 750 CE, the era when Buddhism was being introduced from China.
Winter Days (2003)
, 40minutesDirected by Raoul Servais, Isao Takahata, Iouri Norstein, Kihachirō Kawamoto, Kōji Yamamura, Mark Baker (animateur), Yōji Kuri, Co Hoedeman, Yōichi Kotabe, Jacques Drouin
Origin Japon
Genres Animation
Themes Poésie, Adaptation d'un poème
Actors Kyōko Kishida
Roles Writer
Rating65%
Le film consiste en une série de 36 courts métrages d'une durée comprise entre 30 secondes et 2 minutes environ, chacun inspiré par l'une des strophes du poème. Entre les films, la strophe du film à venir s'affiche à l'écran et est lue par un narrateur ou une narratrice. Comme il est d'usage dans ce type de poème, le premier vers de chaque nouvelle strophe reprend le dernier vers de la strophe précédente. Le premier court métrage montre un groupe de poètes japonais réunis dans une maison et accueillant l'invité d'honneur qui, selon l'usage, compose la première strophe du renku ; c'est le seul à montrer les auteurs du poème. Les films suivants plongent dans l'univers d'images et de sensation évoqués par les strophes du poème. Le poème lui-même ne développe pas d'intrigue suivie ; il contient des éléments d'intrigue, mais ils restent très allusifs. Les courts métrages, de leur côté, ne présentent pas nécessairement une adaptation littérale du poème mais s'en inspirent plus ou moins librement. Les différents courts métrages ne comportent pas de paroles, seulement de la musique et des bruitages. Les techniques d'animation sont extrêmement variées, de même que les styles graphiques et le ton des différents films (ils sont tour à tour paisibles, angoissants, drôles, tristes, etc.). Le film proprement dit est suivi d'un documentaire de making of donnant des informations sur le poème d'origine et sur la production du film.
Director
Winter Days (2003)
, 40minutesDirected by Raoul Servais, Isao Takahata, Iouri Norstein, Kihachirō Kawamoto, Kōji Yamamura, Mark Baker (animateur), Yōji Kuri, Co Hoedeman, Yōichi Kotabe, Jacques Drouin
Origin Japon
Genres Animation
Themes Poésie, Adaptation d'un poème
Actors Kyōko Kishida
Roles Series Director
Rating65%
Le film consiste en une série de 36 courts métrages d'une durée comprise entre 30 secondes et 2 minutes environ, chacun inspiré par l'une des strophes du poème. Entre les films, la strophe du film à venir s'affiche à l'écran et est lue par un narrateur ou une narratrice. Comme il est d'usage dans ce type de poème, le premier vers de chaque nouvelle strophe reprend le dernier vers de la strophe précédente. Le premier court métrage montre un groupe de poètes japonais réunis dans une maison et accueillant l'invité d'honneur qui, selon l'usage, compose la première strophe du renku ; c'est le seul à montrer les auteurs du poème. Les films suivants plongent dans l'univers d'images et de sensation évoqués par les strophes du poème. Le poème lui-même ne développe pas d'intrigue suivie ; il contient des éléments d'intrigue, mais ils restent très allusifs. Les courts métrages, de leur côté, ne présentent pas nécessairement une adaptation littérale du poème mais s'en inspirent plus ou moins librement. Les différents courts métrages ne comportent pas de paroles, seulement de la musique et des bruitages. Les techniques d'animation sont extrêmement variées, de même que les styles graphiques et le ton des différents films (ils sont tour à tour paisibles, angoissants, drôles, tristes, etc.). Le film proprement dit est suivi d'un documentaire de making of donnant des informations sur le poème d'origine et sur la production du film.