Calligraphic stills from films of Yoshida Kiju

From Brushed in Light: Calligraphy in East Asian Cinema by Markus Nornes

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  • Asian Studies
  • Media Studies
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  • Figure 3.1. Yoshida Kiju prefers the “coolness” of type, which activates spectators and resists their desire for a hint about the movie to come. Clockwise from upper left: Flame and Women (Hono to onna, 1967), Eros Plus Massacre (Erosu purasu gyakusatsu, 1969), The Affair (Joen, 1967), and Good for Nothing (Rokudenashi, 1960).