Yojimbo
Going into this study, I chose to reflect on a cinematographer’s body of work I’ve not yet appreciated and am thankful for this approach, as it lead me to a master of cinematography – Kazuo Miyagawa (b. 1908 d. 1999).
Miyagawa was considered the most influential cinematographer of post-war Japanese cinema. He shot over 130 films in his career and worked closely with Akira Kurosawa, Kenji Mizoguchi, Yasujirô Ozu and Kon Ichikawa. However, it was Miyagawa’s versatility that became his greatest strength and most notable definition in style and aesthetic.
Influences
Miyagawa drew inspiration for his lighting from a number of sources. He particularly admired the ‘gloomy contrast’ between light and shadow achieved by German expressionist filmmakers and admitted this influenced the contrasty style of light in his jidaigeki films.
In addition, he drew upon his childhood memories of the aesthetic of spaces and landscapes in Kyoto, which he felt ‘trained’ his eye to ‘see’ shadows and light. This contributed to his low-key aesthetic and asymmetrically balanced compositions. Watanabe Yutaka, a Japanese cinematographer and critic, agreed this influence was identifiable in Miyagawa’s style and described a typical home in Kyoto as ‘The house is a little dark inside, only with a few lights from somewhere. The backyard and the fishbowl on the terrace are the only bright spots in the space’ (Miyao, 2014).
Another key influence was Miyagawa’s studies in sumi-e (traditional Japanese paintings in monochrome ink) that provided great insight into the infinite tonalities of grey. This skill provided a unique vantage for him working with B&W film and as a result, contributed to his distinguishable ability to create a sense of ‘colour’. Sumi-e also influenced Miyagawa’s composition – a style that was rarely symmetrical yet perfectly balanced. As Dusing (1981) describes, ‘the sumi-e painter does not fill the entire surface of the paper, nor does he arrange his composition symmetrically. Instead, he uses the borders of his surface to create separate planes within the space.’
Versatile Style
Miyagawa’s versatility is most evident in the comparison of his work in films from Kurosawa, Mizoguchi and Ozu. In Ukikusa or Floating Weeds (1959, Ozu), Miyagawa helped to define Ozu’s ‘tatami-level’ low angles and distinguishable deep focus. These qualities see the cinematography as unobtrusive and ensures the natural narrative and setting are emphasised.
Floating Weeds
In Ugetsu Monogatari (1953, Mizoguchi), his style is linked to the tonal greys between the monochrome and also his long, choreographed takes. In order to satisfy Mizoguchi’s directorial desire to suspend tense moments, Miyagawa exercised long, drawn out takes that allowed Mizoguchi to achieve dramatic performances without interruption.
While in Kurosawa’s Yojimbo (1961) and Rashomon (1950), complex camera mobility and high contrast became Miyagawa’s notable technique. In his emphasis on contrast and clarity, Miyagawa stated that his was for the purpose of capturing the ‘seriousness’ of the story and that it would ‘express the true nature of human beings’.
It is clear Miyagawa constantly reworked his own techniques in order to best articulate the director’s intentions and developed significant diversity. He also continued to explore new technologies such as anamorphic formats (e.g. CinemaScope), color film stocks and development processes.
Camera Coverage
Miyagawa’s approach to camera coverage is particularly fascinating as he allows the action/movement in the scene (i.e. a samurai unsheathing his sword or river brushes swaying in the wind) to determine his camera placement. For example, the scene below from Ugestu Monogatari highlights an atypical camera position that is driven by the action. Miyagawa effectively creates a cinematic tension through his low, static, distant placement of the camera that restricts our view and forces us to patiently wait for the boat to emerge and travel to the front of the frame. This approach is observable in all his work and often is used to gradually reveal information to the viewer.
Interestingly, Miyagawa felt the camera should be thought of as part of our body, that the cameraman should become one with the camera and ‘dance with it to capture the subject’. He referred to the camera as a tool to ‘paint on film’ and mobility should be motivated by our own physical sense – I feel this explanation helps to best explain the motivation in his camera placement.
Innovations
Throughout Miyagawa’s career he experimented with cinematographic practices that lead to innovations still employed today. One of his notable innovations was the employment of mirrors on the filming of Rashomon. In a scene shot on location in a forest, Miyagawa utilised mirrors to redirect sunlight onto subjects otherwise hidden in shadow. This conserved on the costs and practicality of electric lights and allowed him to maximise on the location. His idea to use mirrors was further developed when he ‘cut’ the hard sunlight with branches and leaves to design a dappled light.
Rashomon
The second and most notable innovation of Miyagawa, was his invention of the Gin-nokoshi or ‘silver tone / bleach bypass’, a technique used in the development process. This innovation was a chemical process that created a greenish-gray tone and more importantly, provided greater control over colour saturation and tonality. The Gin-nokoshi technique has become a regular development tool for the practitioners of today, including Janusz Kamiński, Vittorio Storaro, Darius Khondji and Roger Deakins.
Miyagawa is a master not only because of his complex tracking shots, dynamic range, asymmetrical composition or deep focus, but due to his capacity to mold and adapt his own style to best suit the various collaborations across his career. To conclude in Miyagaway’s own words:
“Forget the expensive equipment. Only a beautiful person can take beautiful pictures”.
References
Allen, T 1981, ‘Journals: Tom Allen from New York’, Film Comment, July/August, <https://www.filmcomment.com/article/journals-tom-allen-from-new-york/>
Dusing, L 1981, ‘Kazuo Miyagawa honored by A.S.C.’, American Cinematographer, #5
Miyagawa, K 1985, “Paint” on Film, “Poetry” through Tone, “Rhythm (Music)”, Camerawork <https://www.filmcomment.com/blog/art-craft-cinematographer-kazuo-miyagawa/>
Miyao, D 2014, The Aesthetics of Shadow : Lighting and Japanese Cinema, Duke University Press, Durham
Tessier, M 1979, ‘Japanese Cameraman: Kazuo Miyagawa’, Monthly Film Bulletin, 48, 3, Arts Premium Collection pg. 188