Tazuko Sakane

Sus memorandos de producción, guiones y correspondencia sobrevivientes fueron donados al Museo de Kioto en 2004 en conmemoración del centenario de su nacimiento.

Antes de la década de 1980, la estructura corporativa jerárquica de los principales estudios era una barrera importante para que las mujeres ingresaran a la industria en una capacidad creativa, y el escaso puñado de aquellas que lo hacían directamente procedían de la actuación, salvo la extraña excepción de la primera mujer directora de Japón.

After leaving Shochiku Kyoto Studio(松竹京都撮影所) in 1962 at the retirement age, Tazuko continued to be involved in movies in the form of part-time jobs until 1970, and died of gastric cancer on September 2, 1975, at the age of 71. She appeared as a collaborator in the documentary film “Record of the life of a movie director Kenji Mizoguchi”(ある映画監督の生涯 溝口健二の記録) released about four months before her death.

Mizoguchi, who had not been blessed with hits for a long time, revived with the hit of “Women of the Night” (1948, 夜の女たち). And in 1952, “Nishitsuru Ichijo”(西鶴一代女), filmed with Kinyo, won the director's award at the Venice International Film Festival, and immediately pushed Mizoguchi into a master of the world. Kinyo entered the supervisory business and directed “Koibun” (1953, 恋文) for the first time. It has been 17 years since the “First Appearance” taken by Tazuko. Mizoguchi continued to receive high acclaim for “Ametsuki Monogatari” (1953, 雨月物語) and “Yamao Daigo” (1954, 山椒大夫), and “Yang Guifei” (1955, 楊貴妃), “New·Heike Monogatari” (1955, 新·平家物語). He died of myeloid leukemia on August 24, 1956.

After arriving in Shinkyo and making a work called “Hardworking Women” (勤労の女性), Tazuko continued to make “Healthy Small National” (健康の小国民), “Bride of Pioneer” (開拓の花嫁), “Vegetable Storage” (野菜の貯蔵), “How to Burn the Heating Room” (暖房の焚き方), etc. While Japan was heavily defeated, Tazuko finished “Indoor Horticulture” (室内園芸), “Spring Gardening” (春の園芸), “First Aid” (救急ノ基本), “Basic Emergency Aid” (基本救急法) and so on. However, on August 15, 1945, Japan surrendered unconditionally, and on August 20, the Soviet army arrived in Shinkyo. The Manchu Film Association was confiscated by the Soviet army, with no plans to return to Japan. Part of the staff was hired by Tohoku Denki Co., Ltd. (東北電影公司) by the Eight Route Army who was stationed in exchange for the Soviet Army, and Tazuko also got a job there. She was allowed to return to Japan in August 1946, and on October 21 of the same year, she and other 50 Japanese stepped through Japan from Shinkyo to Jinzhou.

Por esta época, la esposa de Mizoguchi, Chieko, que tenía una relación cercana con Tazuko, tenía un trastorno mental y fue ingresada en el Hospital de la Prefectura de Kioto.

No fue hasta que Japón entró en guerra que Sakane se encontró desarrollando un sentido de estilo de filmación personal que no estaba bajo el control de los estudios en los que trabajaba.

Adherirse a los estándares coloniales era la única opción de Sakane para recuperar su puesto como directora en Japón.

En aquellos días en que la industria del cine era próspera y los recursos humanos fluían, Mizoguchi dejó la primera película, cuya situación de gestión se deterioró, y se mudó al estudio Shinko Kinema, Kamo Matsu Takeshita.

Tazuko, de 32 años, volvió a pedir el ascenso del director.

Gran parte de la experiencia de Sakane con el cine provino de ayudar y editar películas bajo la tutela de Kenji Mizoguchi.

When Mizoguchi left Nikkatsu in 1932 and moved to the Shinko Kinema (新興キネマへ), Tazuko was also invited to move to the company. (Since then Mizoguchi moved to the company, Tazuko would follow him. This was common because the movie industry at that time had a strong apprenticeship.) Mizoguchi then made “Taki no Shiraito” (1933, 滝の白糸), “Gion Festival” (1933, 祇園祭), and “Kanfuren” (1934, 神風連), and Tazuko helped him as a director assistant. In 1933, Irie Pro, who co-produced “Taki no Shiraito”, asked Tazuko to try to supervise, but in the end it did not happen. In 1934, Mizoguchi moved to Tokyo with Tazuko and joined Nikkatsu Tamagawa Photo Studio (日活多摩川撮影所) . Around this time, Tazuko asked again for the promotion of the director, but the reaction of the staff was so cold that it was not realized. It said that Tazuko was planning to make a movie for Uncle Ashiaga (足長おじさん). Tazuko disappointedly returned to Kyoto with the invitation by Mizoguchi, and joined the first movie he just made. Tazuko started living near her father in Kyoto, and served as assistant director under the Mizoguchi for “Otsukuru Osen” (折鶴お千), “Maria no Yuki” (マリヤのお雪), and “Koujaku Grass” (虞美人草, all in 1935).

En 1923, Tazuko abandonó la escuela por motivos de “conveniencia para hacer las tareas del hogar”, y en marzo del año siguiente, su madre murió repentinamente a la edad de 47 años. Poco después, una mujer llamada Daisetsu Tsuru se convirtió en la segunda esposa.

Tazuko Sakane (坂根 田鶴子, Sakane Tazuko, 7 de diciembre de 1904 - 2 de septiembre de 1975) fue un director de cine japonés.

Nacida el 7 de diciembre de 1904 (Meiji 37) como la hija mayor de seis hermanos entre su padre, Seiichi Sakane (坂根清一) y su madre, Shige (志げ), quienes eran originarios de Kamigyo-ku, Kioto.