美國著名日本電影及文化專家唐納德·里奇去世

MARTIN FACKLER報道2013年02月23日

Donald Richie, 88, American Expert on Japan, Is Dead

Stuart Isett

Donald Richie in Tokyo in 2001.

By MARTIN FACKLER

Published: February 19, 2013

Donald Richie, a prominent American critic and writer on Japan who helped introduce much of the English-speaking world to the golden age of Japanese cinema in 1959 and recounted his expatriate life there spanning seven decades, died on Tuesday in Tokyo. He was 88.

His death was confirmed by Christopher Blasdel, a friend.

Mr. Richie wrote prolifically, not just on film and culture in Japan but also on his own travels and experiences there. He won recognition for his soul-baring descriptions of a Westerner’s life in an impenetrable but permissive society that held him politely at arm’s length while allowing him to explore it nonetheless, from its classical arts to its seedy demimonde.

Openly bisexual, Mr. Richie also wrote frankly about his lovers, both male and female, saying Japan’s greater tolerance of homosexuality in the 1940s, relative to that in the United States, was one reason he returned to the country after graduating from Columbia University in 1953. Mr. Richie first saw Tokyo as a bombed-out ruin, arriving in 1947 as a 22-year-old typist with the Allied Occupation forces after serving on transport ships during the war. He spent most of the next 66 years in Tokyo, gaining a following among Western readers for textured descriptions of Japan and its people that transcended Western stereotypes.

“I remain in a state of surprise, and this leads to heightened interest and hence perception,” Mr. Richie wrote in his diary in 1947, describing the thrill of living abroad. “Like a child with a puzzle, I am forever putting pieces together and saying: Of course.”

His books — some 40 altogether — were wide-ranging, including historical novels, studies of flower arranging and travelogues, which were widely praised for humanizing a people still remembered in the United States as a wartime foe. Perhaps his best-known travel memoir, “The Inland Sea” (1971), was the basis of a documentary shown on PBS in 1991.

Mr. Richie made his biggest mark in his writings on Japanese cinema. In 1959, he and the critic Joseph L. Anderson published “The Japanese Film: Art and Industry,” which many film studies experts regard as the first comprehensive English-language book on Japanese movies.

In his memoir, “The Japan Journals, 1947-2004,” Mr. Richie recounted how in the late 1940s he paid his first visit to a Japanese studio, where he met a director in a white floppy hat and “someone I guessed was a star” wearing “a loose Hawaii-shirt.” Thus began Mr. Richie’s enduring acquaintance with two of the giants of Japanese cinema, the director Akiro Kurosawa and the actor Toshiro Mifune.

Mr. Richie went on to write several books on Mr. Kurosawa and his films, including the 1950 samurai mystery “Rashomon,” whose innovative shifting of perspective among characters won the director global renown. (Mr. Richie wrote English subtitles for three of Mr. Kurosawa’s films.)

Mr. Richie also drew attention to another brilliant Japanese director, Yasujiro Ozu, whose sparse and subtle handling of themes like family, as in “Tokyo Story” (1953), influenced Western directors, including Wim Wenders.

“Donald Richie was the one to get these films shown abroad,” said Aaron Gerow, a professor of Japanese cinema at Yale. “He was the first gatekeeper of Japanese film for the English-language world.”

Mr. Richie met and wrote about many of the more colorful figures of postwar Japan, among them the novelist Yukio Mishima, who killed himself by ritual disembowelment in 1970. Mr. Richie struggled to make sense of the suicide, often interpreted here as an effort to draw attention to the nation’s loss of martial spirit, and expressed mild exasperation with Mr. Mishima’s widow for seeking to hide her husband’s embrace of homosexuality.

Mr. Richie came to bemoan the changes that transformed Japan from the mostly agrarian country he found in the 1940s into an industrialized landscape of unrestrained public works and American-style commercial development.

“It was the most beautiful country I’d ever seen in my life,” he wrote in 1992, “and now it’s just about the ugliest.”

Donald Richie was born in Lima, Ohio, on April 17, 1924, and lived most of his life alone, though he was briefly married to Mary Richie, an American writer.

“Donald had a sensibility that was not nurtured where he grew up,” said his friend Mr. Blasdel, artistic director of Tokyo’s International House. “He was warm but also kept his distance, even in his personal relationships. This gives his writing a sense of passionately caring, but also of objectivity and truthfulness.”

Mr. Richie said he never sought to become a Japanese citizen, but instead seemed to revel in his position on the margins of Japanese society, which, he wrote, offered him far greater personal freedom than he could have had back in Ohio.

“I may have rejected the U.S.A. where I was born,” Mr. Richie wrote in his memoir, “but I did not decide to be Japanese. That is an impossible decision, since the Japanese prevent it. Rather, I decided to decorate Limbo and become a citizen of this most attractive, intensely democratic republic.”

唐納德·里奇(Donald Richie)於周二（2013年2月19日——譯註）在東京的一家醫院辭世，享年88歲。里奇是描寫日本及僑民生活最傑出的美國作家之一。他最著名的貢獻是，向英語世界介紹了導演黑澤明(Akira Kurosawa)，以及他所處的日本電影黃金時代。
里奇的故交克里斯托弗·布拉斯代爾(Christopher Blasdel)稱，里奇近幾年身體欠佳，他在東京的公寓里心臟停止跳動後，被送往東京大學附屬醫院(University of Tokyo Hospital)，並在那裡去世。
里奇生前不僅在電影和文化領域著作頗豐，還寫下了大量遊記和生活經歷。他目睹了日本走出戰爭的廢墟，崛起為以高科技聞名的富裕國家，繼而又陷入困境。他因對日本生活極為坦誠的描寫而贏得了認可。他的一生幾乎都在日本度過，這是個難以滲透卻又十分放任的社會，總是對他保持冷淡的禮貌，卻又允許他自由探索，不管是日本精巧細膩的傳統藝術，還是艷麗低俗的娼妓階層。
儘管里奇更喜歡記述生活的私人層面，而非宏大的公共事件，但在因二戰而首先接觸日本的那批美國知識分子當中，他被廣泛認為是日本的最佳詮釋人之一。
里奇出生於俄亥俄州的萊馬，二戰期間曾在運輸船上服役，1947年，22歲的他作為駐日盟軍的打字員抵達東京，第一次親眼目睹這座城市被轟炸後的廢墟。在接下來66年的大部分時間裡，他都生活於此，寫出了約40本著作，涵蓋從花卉研究到歷史小說的各種主題。
他對日本和日本人細膩而敏銳的描寫，超脫了西方對日本的成見，因而受到了西方讀者的追捧。他的諸多著作廣受讚譽，如1971年的遊記《內海》(The Inland Sea)，原因是對日本的名人和普通人均進行了深入細緻的描繪，為美國戰時的敵人，賦予了人性的面孔。
里奇在他1947年的日記中講述了自己旅居海外的激動之情，“我一直處在驚奇之中，這讓我興趣高漲，時有所悟。就像是玩拼圖的孩子，我一直在把各種東西拼在一起，然後說：原來如此。”他的一生都充滿了這種情緒。
不過，關於日本電影的著作才是里奇最大的成就，尤其是以戰後的大導演為主題的那些。
1959年，里奇與約瑟夫·安德森(Joseph Anderson)合著的《日本電影：藝術與工業》(The Japanese Film: Art and Industry)出版。電影研究專家認為，這是關於日本電影的首部英文著作。在回憶錄中，里奇講述了上世紀40年代自己首次拜訪一家日本攝影棚的情景。他在那裡遇見了一名戴着白色軟帽的導演，以及一個“穿着寬鬆的夏威夷T恤、我猜是明星的什麼人”。他們就是黑澤明和演員三船敏郎(Toshiro Mifune)，里奇與日本電影界兩位大師的終身友誼就此展開。
里奇後來撰寫了幾本關於黑澤明及其作品的著作，其中包括1950年的武士懸疑片《羅生門》(Rashomon)。黑澤明1989年榮獲奧斯卡終身成就獎，《羅生門》因創造性地在各角色之間轉換敘事角度而獲得了全球聲譽。里奇後來稱這部電影是“史上最著名的日本電影”。他還為黑澤明的三部電影編譯英文字幕，包括1980年的《影武者》(Kagemusha)。
里奇還引起了人們對另外一位才華橫溢的日本導演小津安二郎(Yasujiro Ozu)的關注。耶魯大學(Yale University)研究日本電影的教授阿龍·傑羅(Aaron Gerow)稱，小津安二郎對電影主題的處理樸素而微妙，正如他在《東京物語》(Tokyo Story)中對家庭的展現方式，這一風格影響了包括維姆·文德斯(Wim Wenders)在內的西方導演。
“是唐納德·里奇把這些電影介紹到了國外，”傑羅說，“他是首位將日本電影帶進英語世界的人。”
居住在日本的數十年間，里奇和日本戰後知識界、藝術界許多引人注目的人物相會，並書寫他們的故事。最吸引他的，似乎還是三島由紀夫(Yukio Mishima)的故事。1970年，這位小說家切腹自殺。在日本，人們通常的解讀是，三島由紀夫自殺是為了引起人們對該國武士道精神沒落的關注，里奇努力想弄清他自殺的原因，對於其遺孀試圖掩蓋丈夫生前眾所周知的同性戀取向的做法，里奇也溫和地表達了憤怒。
作為一名公開的雙性戀，里奇也在作品中坦率地寫了他的男女情人。他說，和美國相比，上世紀40年代日本對同性戀更為包容，這也是他1953年從哥倫比亞大學(Columbia University)畢業後回到日本的原因之一。雖然和美國作家瑪麗·里奇(Mary Richie)有過一段短暫婚姻，但是里奇一生中大部分時間內都是單身。
儘管里奇一生中大部分時間都居住於此，但他對日本的看法似乎頗為複雜。在他的作品中，里奇毫不迴避地描述了日本排外的社會並不美好的一面。然而他也發現了日本很多值得讚美的東西，尤其是傳統藝術中所體現的平衡與微妙。
里奇的最為尖刻的一些作品中，則講述了他作為美國僑民，置身於一個不肯接納外來者的國家裡的感觸。他說，自己從來沒有尋求成為一個日本公民，相反的，他似乎很享受游離在日本社會邊緣的感覺。他寫道，這種社會地位給他提供了更多的個人自由，遠遠超過他在俄亥俄州所能享受到的程度。
對於他看到的那些使日本不復往昔的變化，里奇扼腕痛惜。在《內海》一書中，里奇嗟嘆道，他在上世紀40年代看到的古樸農耕國度正在遠去，日本成為美國式的商業再開發和無節制的公共工程建設的受害者。
“它曾經是我一生中見過的最美麗的國家，”里奇在1992年寫道，“而現在它差不多成了最醜陋的了。”

翻譯：黃錚、谷菁璐

-----下集沒買到.
唐纳里奇《日本日記上》上海译文 2011
一些錯誤頁160 注應為 Walter Kaufmann (philosopher) - Wikipedia,談的論文應收入其書:Existentialism, Religion, and Death: Thirteen Essays

Donald Richie這本《日本日記》像Rudolf Arnheim著的 Parables of Sun Light: Observations on psychology, the arts and the rest, (University of California Press, 1989) 都是改寫過的--書中在1960年詳細記下Rudolf 的學者風範-- 不過此注我可補充--此書一時找不到所以以後再查是否談過.....Donald Richie

The Japan Journals: 1947-2004

Donald Richie (Author), Leza Lowitz (Editor)

From Publishers Weekly

Since moving to Japan in 1947, Richie has written hundreds of books, directed several films and befriended dozens of Japanese celebrities, including composer Taru Takemitsu, novelist-icon Yukio Mishima and filmmaker Akira Kurasawa. Richie has also been the point of contact for non-Japanese artists such as Francis Ford Coppola, Truman Capote and Igor Stravinsky. But what will interest most readers are not so much Richie’s erudite observations on Japanese cultural life as his rather saucy descriptions of his experiences in the country. A self-confessed "sexaholic," Richie declares that he’s slept with "thousands" of people, and sex and sexual relationships are themes that dominate the journals. Richie does give some sense of how Japan has changed in the 50-odd years that he has lived there, but this perspective is constrained because Richie’s context rarely transcends his immediate surroundings. As such, the entries sometimes read like a series of cryptic pieces. There are moments where Richie shines, such as when he describes his divorce and his experiences with Mishima. His views on the intersections of xenophobia, racism "and all the rest" are both poignant and disturbing. For example, after being solicited by a couple of schoolgirls, Ritchie wonders how anyone could think prostitution is wrong, except "if the person does not want to sell, well maybe." But the journals live up to his reputation as a charming wit, and if the erratic narrative sometimes seems surreal, enough bits and pieces come together to inform readers of the Japan Richie experienced as an American insider. 75 b&w photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

About the Author

Donald Richie has been writing about Japan for over 50 years from his base in Tokyo and is the author of over 40 books and hundreds of essays and reviews. He is widely admired for his incisive film studies on Ozu and Kurosawa, and for his stylish and incisive observations on Japanese culture.

Product Details

Hardcover: 440 pages
Publisher: Stone Bridge Press (October 1, 2004)

Donald Richie: The Japan Journals 1947-2004

This is what every memoir should be. Unhindered by any attempt to be self-serving, Donald Richie’s The Japan Journals: 1947-2004 is about the most unflinchingly honest opening of the tightly turned lid of self you'll ever read. You can't help but like an autobiographer willing to welcome you this deeply into his 510-page heart.
Not that there's a paucity of things to like about Japanese film historian Donald Richie. One of the most underrated writers of the last 50 years, Richie wields his pen with a depth of insight that more famous writers would swap Booker Prizes for, and his command of detail and emotion are on par with the best — even here in a ‘journal.'
Although journal in name, The Japan Journals is more than nighttime afterthought, for Richie realized early on that the detritus of his daily life was destined for the shelves of others, and therefore wrote accordingly — with concentration and abundant skill.
Richie isn't just an interesting writer, he's an interesting human being, a person who has lived a life filled with fascinating and often famous others — Yukio Mishima, Marguerite Yourcenar, Emperor Hirohito and Francis Ford Coppola, to name a few. Included is perhaps the most insightful assessment of the internal life of the near impossible-to-comprehend Mishima, while it is highly likely that Richie is the inspiration for Bill Murray’s character in Sofia Coppola’s Lost in Translation, for he tells of spending time with the teenaged director-to-be in Tokyo.
Better known as the leading Western authority on Japanese film, the beyond erudite Donald Richie could also be subtitled the ‘Gore Vidal who chose to live in Japan.' Equally talented and insightful as the American polemicist, Richie is more heartfelt to Vidal’s glib, and therefore on final reckoning, even more rewarding.

Donald Richie in February 2009

For the U.S. Senate historian, see Donald A. Ritchie.

Donald Richie (born 17 April 1924, Lima, Ohio) is an American-born author who has written about the Japanese people and Japanese cinema. Although he considers himself only a writer,^[1] Richie has directed many experimental films, the first when he was 17.^[2] Although Richie speaks Japanese fluently, he can neither read nor write it proficiently.^[3]

[hide]

[edit]Biography

During World War II, he served aboard Liberty ships as a purser and medical officer. By then he had already published his first work, "Tumblebugs" (1942), a short story.^[4]
In 1947, Richie first visited Japan with the American occupation force, a job he saw as an opportunity to escape from Lima, Ohio. He first worked as a typist, and then as a civilian staff writer for the Pacific Stars and Stripes. While in Tokyo, he became fascinated with Japanese culture, particularly Japanese cinema. He was soon writing movie reviews in the Stars and Stripes. In 1948 he met Kashiko Kawakita who introduced him to Yasujiro Ozu. During their long friendship, Richie and Kawakita collaborated closely in promoting Japanese film in the West.^[5]
After returning to the United States, he enrolled at Columbia University's School of General Studies in 1949, and received his Bachelor's Degree in English in 1953. Richie then returned to Japan as film critic for The Japan Times and spent much of the second half of the twentieth century living there. In 1959, he published his first book, The Japanese Film: Art and Industry, coauthored with Joseph Anderson. In this work, the authors gave the first English language account of Japanese film. Richie served as Curator of Film at the New York Museum of Modern Art from 1969 to 1972. In 1988, he was invited to become the first guest director at the Telluride Film Festival.
Among his most noted works on Japan are The Inland Sea, a travel classic, and Public People, Private People, a look at some of Japan's most significant and most mundane people. He has compiled two collections of essays on Japan: A Lateral View and Partial Views. A collection of his writings has been published to commemorate fifty years of writing about Japan: The Donald Richie Reader.The Japan Journals: 1947-2004 consists of extended excerpts from his diaries.
In 1991, filmmakers Lucille Carra and Brian Cotnoir produced a film version of The Inland Sea, which Richie narrated. Produced by Travelfilm Company, the film won numerous awards, including Best Documentary at the Hawaii International Film Festival (1991) and the Earthwatch Film Award. It screened at the Sundance Film Festival in 1992.^[6]
Author Tom Wolfe describes Richie as: "the Lafcadio Hearn of our time, a subtle, stylish, and deceptively lucid medium between two cultures that confuse one another: the Japanese and the American."^[7]

[edit]Japanese cinema

Richie's most widely recognized accomplishment has been his analysis of Japanese cinema. From his first published book, Richie has revised not only the library of films he discusses, but the way he analyzes them. With each subsequent book, he has focused less on film theory and more on the conditions in which the films were made. One thing that has emerged in his works is an emphasis on the "presentational" nature of Japan's cinema, in contrast to the "representational" films of the West. His book, A Hundred Years Of Japanese Film includes a helpful guide to the availability of the films on home video and DVD mentioned in the main text. In the foreword to this book, Paul Schrader says: "Whatever we in the West know about Japanese film, and how we know it, we most likely owe to Donald Richie." Richie also has written analyses of two of Japan's best known filmmakers: Yasujiro Ozu and Akira Kurosawa.
Richie wrote the English subtitles for Akira Kurosawa's films Kagemusha (1980), Red Beard, and Dreams (1990).^[8]
In the 21st century, Richie has become noted for his erudite audio commentaries for The Criterion Collection on DVDs of various classic Japanese films, notably those of Ozu (A Story of Floating Weeds and Early Summer), Mikio Naruse (When a Woman Ascends the Stairs), and Kurosawa (Drunken Angel, Rashomon, The Lower Depths, and The Bad Sleep Well), among others.

[edit]Books by Donald Richie

Botandoro: Stories, Fables, Parables and Allegories: A Miscellany (paperback), Printed Matter Press; 2008; ISBN 978-1-933606-16-3
Travels in the East (paperback). Stone Bridge Press. 2007. ISBN 978-1933330617.
A Tractate on Japanese Aesthetics (paperback). Stone Bridge Press. 2007. ISBN 978-1933330235.
Japanese Portraits: Pictures of Different People (Tuttle Classics of Japanese Literature) (paperback). Tuttle Publishing. 2006. ISBN 978-0804837729.
Tokyo Nights (paperback). Printed Matter Press; 2005; ISBN 1-933606-00-2
A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos. Kodansha International. 2005. ISBN 978-4770029959. (paperback)
The Japan Journals: 1947–2004 (paperback). Stone Bridge Press. 2005. ISBN 978-1880656976.
A View from the Chuo Line and Other Stories (paperback), Printed Matter Press, 2004, SBN 4900178276
Japanese Literature Reviewed (hardcover). ICG Muse; 2003; ISBN 4-925080-78-4
With Roy Garner. The Image Factory: Fads and Fashions in Japan (paperback). Reaktion Books; 2003; ISBN 1-86189-153-9
The Inland Sea (paperback). Stone Bridge Press. 2002. ISBN 978-1880656693.
The Donald Richie Reader: 50 Years of Writing on Japan (paperback). Stone Bridge Press. 2001. ISBN 978-1880656617.
Tokyo: A View of the City (paperback). Reaktion Books; 1999; ISBN 1-86189-034-6
Memoirs of the Warrior Kumagai: A Historical Novel (hardcover). Tuttle Publishing; 1999; ISBN 0-8048-2126-7
The Films of Akira Kurosawa, Third Edition, Expanded and Updated (paperback). University of California Pres. 1999. ISBN 978-0520220379.
Tokyo (paperback). Reaktion Books. 1999. ISBN 978-1861890344.
Partial Views: Essays on Contemporary Japan (paperback). Japan Times; 1995; ISBN 4-7890-0801-0
The Temples of Kyoto (hardback). Tuttle Publishing; 1995; ISBN 0-8048-2032-5
The Inland Sea (paperback). Kodansha International; 1993; ISBN 4-7700-1751-0
A Lateral View: Essays on Culture and Style in Contemporary Japan (paperback). Stone Bridge Press. 1992. ISBN 978-0962813740.
Japanese Cinema: An Introduction (hardcover). Oxford University Press; 1990; ISBN 0-19-584950-7
Japanese Cinema: Film Style and National Character (paperback). Oxford University Press; 1990; ISBN 0-19-584950-7
Introducing Japan (hardcover). Kodansha International; 1987; ISBN 0-87011-833-1
Introducing Tokyo (hardcover). Kodansha Inc; 1987; ISBN 0-87011-806-4
Focus on Rashomon (hardcover). Rutgers University Press; 1987; ISBN 0-13-752980-5
Different People: Pictures of Some Japanese (hardcover). Kodansha Inc; 1987; ISBN 0-87011-820-X
A Taste Of Japan (hardcover). 1985. Kodansha Intl. Ltd..
Zen Inklings: Some Stories, Fables, Parables, and Sermons (Buddhism & Eastern Philosophy) (Paperback) with prints by the author. Weatherhill, 1982. Without prints: 1982. ISBN 78-0834802308
With Ian Buruma (photos) (1980). The Japanese Tattoo (hardcover). Weatherhill.
Ozu: His Life and Films (paperback). University of California Press. 1977. ISBN 978-0520032774.
George Stevens: An American Romantic. New York, The Museum of Modern Art, 1970.
Companions of the Holiday (hardcover). Weatherhill; 1968; ISBN 1-299-58310-5
Erotic Gods Phallicism in Japan (slipcase). Shufushinsha; 1966; ISBN 1-141-44743-6
The masters’ book of Ikebana: background and principles of Japanese flower arrangement, edited by Donald Richie & Meredith Weatherby; with lessons by the masters of Japan’s three foremost schools: (hardcover). Bijutsu Shuppansha. 1966.
The Japanese Movie. An Illustrated History (hardcover). Kodansha Ltd; 1965; ISBN 1-141-45003-8
Japanese Movies. Japan Travel Bureau, 1961
With Joseph L. Anderson. The Japanese Film: Art and Industry (paperback). Princeton University Press; 1959, revised 1983; ISBN 0-691-00792-6
Eight American Authors. Kenkyusha. 1956.
This Scorching Earth. Charles E. Tuttle. 1956.
With Watanabe Miyoko. Six Kabuki Plays (paperback). Hokuseido Press; 1953; ISBN 1-299-15754-8
Essays in Contemporary American Literature, Drama and Cinema (in Japanese). Hayakawa Shobo. 1950.
The Honorable Visitors. Charles E Tuttle; 1949; ISBN 0-8048-1941-6

[edit]Films and books on Donald Richie

Sneaking In. Donald Richie's Life in Film. Directed by Brigitte Prinzgau-Podgorschek, Navigator Film Produktion/Peter Stockhaus Filmproduktion, GmbH, Vienna, 2002
Silva, Arturo, ed. (2001). The Donald Richie Reader. Berkeley: Stone Bridge Press. 10-ISBN 1-880656-61-2; 13-ISBN 978-1-880656-61-7 (cloth)
Klaus Volkmer and Olaf Möller.Ricercar fuer Donald Richie. Taschenbuch (1997)

[edit]Films by Donald Richie

Donald Richie is the author of about 30 experimental films from five to 47 minutes long, six of which have been published on DVD.^[9] None were originally meant for public screening.^[10] The pieces on the DVD, all originally shot in 16 mm, are:^[10]

Wargames, 1962 22 minutes
Atami Blues, 1962, 20 minutes, soundtrack by Tōru Takemitsu
Boy with Cat, 1967, 5 minutes
Dead Youth, 1967, 13 minutes
Five Philosophical Fables, 1967, 47 minutes
Cybele, 1968, 20 minutes

Among the short works not included in the collection are for example Small Town Sunday (1941, 8 mm), filmed when he was still resident in the United States, A Sentimental Education (1953), Aoyama Kaidan (1957), Shu-e (1958), and Life (1965).^[10]
Other films:

Akira Kurosawa, 1975, 58 minutes, 35 mm in color and b/w. Produced by Atelier 41 for NTV, Tokyo
A Doll, 1968, 16 mm, 20 minutes, in color
A couple, 1968, 35 mm, in b/w
Nozoki Monogatari, 1967, 16 mm, released by Brandon Films
Khajuraho, 1968, 16 mm, in color and b/w

[edit]Honors

Kawakita Award first recipient in 1983^[11]
Japan Foundation: Japan Foundation Award, 1995.^[12]
John D. Rockefeller 3rd Award (Asian Cultural Council) in 1993^[13]
National Society of Film Critics Awards, USA: Special Award (1971)^[8]

日本語訳書[編集]

『映画のどこをどう読むか　映画理解学入門 = Viewing film』　三木宮彦・司馬叡三訳、スタジオジブリ、2006
『イメージ・ファクトリー　日本×流行×文化』　松田和也訳、青土社, 2005
『素顔を見せたニッポン人　心に残る52人の肖像』　菊池淳子訳、フィルムアート社、2003
『日本の映画』　梶川忠・坂本季詩雄訳、行路社、2001
『十二人の賓客　日本に何を発見したか』　安西徹雄訳、TBSブリタニカ、1997
『新作英語狂言』　荒井良雄編、研究社、1990
『映画のどこをどう読むか　世界の10本の傑作から　映画理解学入門』　三木宮彦・司馬叡三訳、キネマ旬報社、1984
『日本人への旅』　山本喜久男訳、ティビーエス・ブリタニカ、1981
『日本の大衆文化』　金関寿夫編・注、秀文インターナショナル、1981
『京都発見』　クリフトン・カーフ版画、講談社、1981
『黒沢明の映画』　三木宮彦訳、キネマ旬報社、1979
『小津安二郎の美学　映画のなかの日本』　山本喜久男訳、フィルムアート社、1978
『男女像』　伊藤堅吉共著、図譜新社、1967
『映画芸術の革命』　加島祥造・虫明亜呂無訳、昭森社、1958
『この焦土』　加島祥造訳、新潮社、1957
『現代アメリカ文学主潮』　加島祥造訳、英宝社、1956
『現代アメリカ芸術論』　加島祥造訳、早川書房、1950

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Ozu: His Life and Films (paperback). University of California Press. 1977. ISBN 978-0520032774.
《小津安二郎的電影美學》，李春發譯，台北:電影圖書館出版部，1983
Google Books http://books.google.com.tw/books/about/Ozu.html?id=8W6mwSIwTEsC&redir_esc=y

Ozu

Donald Richie

University of California Press, Jan 1, 1977 - Performing Arts - 275 pages

5 Reviews

Yasujiro Ozu, the man whom his kinsmen consider the most Japanese for all film directors, had but one major subject, the Japanese family, and but one major theme, its dissolution. The Japanese family in dissolution figures in every one of his fifty-three films. In his later pictures, the whole world exists in one family, the characters are family members rather than members of a society,

and the ends of the earth seem no more distant than the outside of the house.

stationary camera the lowcamera position pictorial	105

EDITING	112

The form of the finished Ozu film circular form in	159

The experience of the Ozu film the transcendence of	186

BIOGRAPHICAL FILMOGRAPHY	193

NOTES	253

BIBLIOGRAPHY	265

Copyright

现世今生，风物与人
http://book.douban.com/review/4958764/

唐納德•里奇，1924年出生於美國，1947年，隨軍來到日本東京，並在此生活了近半個世紀，成為著名的日本電影與文化研究者，以獨到的領悟，向西方傳播東方文化。里奇對小津安二郎電影的論著尤為引人注目，如此平和、深厚、溫文爾雅。這個高大的美國人能在小津電影中看出“生而為人、因此受苦”的生之哀怨與達觀。而在里奇的這本《日本日記》中，我們了解到他不僅是評論家，還是小說家，拍過許多電影，一直熱愛旅行，通曉繪畫、音樂、建築。總之，十分的藝術人生。而且，他是同性戀。　　但上述概況並不是《日本日記》的主體，很多只是從編排者的介紹中稍稍瞥見。國內翻譯出版的也只是完整日記的上部，從1947到1989年。里奇也不是每天都寫，有時幾年都不寫，所以日記也不算他的自傳，他也有自己的回憶錄，名曰《觀照自我》。　　那麼這部日記的主體是什麼呢，簡而言之：風物與人，所見所遇。風物當然是日本的風物，能樂、舞樂表演、電影、文學、玩偶、風月場，甚至婚禮、葬禮以及衣食住行、日常生活的細微方面，並在此間展示了日本風隨物轉的逐步變遷。人則是日本人與造訪日本的西方人、普通人與名人紛至沓來，學生、妓女、出租車司機、川端康成、鈴木大拙、三島由紀夫、毛姆、卡波蒂……　　里奇載物記人的風格，是《日本日記》的魅力所在，毫不多愁善感，非常實事求是，聰明、客觀、幽默、精妙。他見證了1947年戰爭大火焚燒過後的東京、無家可歸的饑民，但只描述現象，不給與評論。也許是因為他廢墟與新生並見：“就在這些廢墟中，新木已泛出黃色光澤，人們正回到這座城市。”“似乎，他們也在等待著這一切過去，這樣他們可以繼續生活。”三島由紀夫是里奇的好友，對於三島的剖腹自殺，里奇在日記中沒有流露出絲毫傷感與震驚，他了解三島：“當我得知他的自殺，這就是我首先想起來的——他已知道沒什麼可救的。他的自殺可能是一則政治宣言，一則美學宣言，但它也是一則絕望的個人宣言。”“一個真正的浪漫主義者，乃是將實物跟應該有的東西作比較，然後以人格的力量，依靠自己覺得更好的那些標準而生活。”“當他也有力量靠著它們去死，我們再也不知道該說什麼。 ”作為佔領軍的一員，里奇的朋友吉恩會感到內疚、質疑，但里奇不，他自己從不懷疑任何一個機會，他佩服吉恩，但不會以他為榜樣。就像鈴木博士對里奇的評價：“非常現世，非常今生。”他對此欣然接受，“我沒有使命，永遠不會有。” “在我的理想世界，沒人會發誓效忠任何東西。 ”　　正是這種“現世今生”的心態，使他卸去了歷史的重負，獲得了一種心無旁騖、真心體驗的態度。對於日本，他深知自己是個局外人，但毫不獵奇，從不把日本客體化、他者化、異化。對於風物，總是能夠細細地觀察、欣賞，無論是寺廟外山間旅館的簡樸小住，還是九州島漫長的火車之旅都能讓里奇樂在其中。這樣他就與日記中描述的某些來日本尋找所謂“真正的日本”，見到了又覺得“真正的日本”不可理遇的西方人形成鮮明對照。對於日本人本身，即使不能欣賞，里奇也能看透、接受。就像他對作家、文化人林肯•柯斯坦的犀利評價：“林肯和日本人都以同樣的方式看人。人也是一種貨幣。一個人的價值在於他做什麼。”“林肯多像日本人。從別的國家得到他們想要的東西之後，他們也總是看不起剩下的東西。當他們得到他們想要的，他們就說壞話。還有什麼更為自然？這個世界像日本和林肯這樣的人是真正的現實主義者。”　　而身處東方，浸淫其中，里奇的視野也更加廣闊，雙重視角看待事物更顯深刻。日本草月流插花掌門人勅使河原宏學童時想拍電影，但迫於流派壓力，繼承了家業，也處理的很好。里奇對此評論：“他做了一件或許典型但我依舊覺得令人欽佩的事情。因為他不能改變他的環境，他改變了自己。”“我的西方自我說，他背叛了自己。但是我的東方自我很想知道，他的所為是否顯示了一種更高的智慧。”　　而里奇看人的最大優點在於一視同仁。對於他採訪的一位難民，他能看出他“雖然衣著襤褸，但卻令人起敬。”對於名人，我們看不到他筆下流出的羨慕，甚至是特別的欽佩與尊敬。他只把他們視為人，平等的人，如實描述事件以及自己的感受。在他筆下，川端康成是有著“鳥一般的輪廓”的中年男子，而“跟三島一起，你變得客觀，冷靜看待自己。是他造就了這一強烈氛圍，因為他對內在一致的堅持。跟三島一起，就是參演一齣戲。”德國藝術與電影理論家魯道夫•阿恩海姆，“慢吞吞，大塊頭，很優雅，這是可以抱起一隻小貓而不嚇著它的那類人。”演員三船敏郎，“好人三船，老實人三船。都很真實，都在那兒。也都在表面。有沒有比表面更多的東西？”　　讀過《小津》，我以為里奇就是小津那樣的人，或者至少小津電影風格那樣的人，不然他的理解與詮釋為何那麼貼切。但里奇說過：“你不一定要成為你欣賞的人。”他對人的描述，聚焦停靠在自己感想上的思索，讓我想起了普魯斯特，而對人那種精微入裡的評價，那種冷感與距離，又有幾分張愛玲風味。簡•奧斯丁是里奇喜歡的，他把自己想成“機智而冷酷的班奈特先生。”別人在書裡稱他為“浪蕩子”，他也覺得恰當的很，那代表“機智，滿不在乎，世故之人。”且“看穿表面並拒絕遵守乏味規則。”因此，即使經過編排刪節，以及文體本身不可避免的主觀性，《日本日記》也展示出了足夠的睿智與深刻，現世今生，風物與人，栩栩如生，充滿妙趣。

*****
西方想像日本稿源：南方人物周刊| 作者：李玄榛日期：2011-07-25
唐納德·里奇的日記用很多篇幅描寫日本見聞和瑣碎的人際交往，也有大量關於他個人的哲學化思考，但我最感興趣的是，以里奇為中介，西方到底用什麼樣的眼睛、看到了什麼樣的日本。1973年的一天，里奇在日記裡記載了和朋友的一場討論：為什麼他們——也就是西方人——對日本有興趣。此時他已在日本生活了二十多年。結論是，一方面，因為他們和日本不可能有所謂“真正的關係”，他們是日本的局外人，因此輕鬆自在。另一方面，他們覺得“亞洲佬”有趣，並且，在“內心最陰暗的深處”，他們把日本人視作“下等人”，免不了有優越感和促狹的心理。這種說法至少部分接近真實。1955年，日本還在由美國託管，作為美國公民的杜魯門·卡波蒂臨到東京機場，才發現，竟然需要簽證。他認為日本小氣，還自傲得很愚蠢。這次行程從頭到尾都不舒暢。據里奇日記記載，卡波蒂幾乎完全呆在帝國飯店，無比無聊，吃、睡、打電話，向所有人抱怨個不停。他聲稱不喜歡這個國家。後來他決定讓《紐約客》負擔這次行程的費用，因此去為他們採訪正在京都附近的馬蘭·白龍度。然而一旦他回到紐約，又表現得“想的都是日本”，還表示要寫本關於日本的書。顯然，這一時期，日本作為一個物質、文化和感情等多重的新大陸，在整個西方都很有市場，以至於那些從日本歸來的人們可以藉此裝點門面。里奇在日本迎來送往了一批西方來的文化名流。這些人浮光掠影的日本印像大抵如下：這是非常小的國家（里奇遊歷了日本的許多地方，發現它小巧玲瓏的名聲只是一種想像，他認為它實際上是個“大國”，各地差別很大），整潔甚至過於整潔，很鄉下、小地方，“有它的趣味，但過時而俗氣”。他們顯然不太看得起它。1959年，英國詩人斯蒂芬·斯彭德來到日本，他對里奇說：“你一定要帶我們去看真正的日本。”英國小說家安格斯·威爾遜則俏皮地說：“我們絕對會捅穿那些可愛的紙門。”里奇帶著這兩人和意大利小說家莫拉維亞等人去了高野山，他認為那裡是真正的日本，有寺廟，還有很多紙門和一個墓地。但是那些人顯然不滿意，他們在這裡“吃過不能吃的飯，洗過受不了的澡，在可怕的墊子上睡了失眠的一夜。蹲過恐怖的廁所，用完嚇人的早餐”，後悔不迭。莫拉維亞深切懷念起東京，那才是他的“真正的日本”。在那裡，他借助里奇的翻譯和一個鱷魚手袋，在夜總會搞到了一個年輕的女收銀員。這大概是西方人發現“真正的日本”最正宗的路徑和源泉之一。他們表現了西方人遭遇日本的典型模式：從好奇和陌生，轉向不適應，最後歸於失望和厭棄。說到底，他們在想像中熱愛日本，厭棄則部分地來源於挫折感。1982年，法國女作家尤瑟納爾也來到日本，待了很長一段時間，發現日本是她到過的“最難理解的國度”。她出去買鉛筆卻空手而回，因為她不會日語，並且找不到和日本人溝通的有效方式。這一微小的事件卻是最有力的象徵。在西方人看來，日本人採取的方式是“茫然不知和躲避”。結果，尤瑟納爾和她的男伴做了別的選擇，他們在日期間一共看了40個小時的歌舞伎表演，那是他們“逃避日本的地方”。那時的日本對於西方世界，則處在深切的矛盾中。在東京，比如女收銀員這樣的都市女性並不避外國人，甚至不拒絕發生一些艷情，尤其是當對方頗有些聲望時；女粉絲等在毛姆門口長達幾小時，等著跟他談靈魂，最終被晾在門外；藝伎們則完全知道伊戈·斯特拉文斯基是《春之祭》的作者，並樂於討他的歡心。但東京以外的人，不了解東京，更不了解西方。里奇去到一些海邊村鎮，常引起無法停息的討論，以及直率而赤裸裸的圍觀，那些觀看的眼神無不充滿駭異，村童因為他“吃人”的玩笑，嚇得滾倒，然後爬著逃離。到1988年，里奇覺得日本變了。因為“日本富了，不再需要我們，不需要模仿我們”，也不再需要藉他們的眼睛去看外面的世界。 1989年12月30日，里奇記錄了一幅有些倒錯的畫面：東京銀座聚集了很多遊客，多數像美國人，穿戴著隨意的運動衫、牛仔褲、伐木工襯衫和絨線帽。顯然，他們是有產者，但把自己打扮得像是勞工階層。而相反，這時候的日本人又精緻又優雅，就像50年代的西方人那樣。