Embu, also Embu das Artes, is a Brazilian city in the State of São Paulo. It is a suburb of the capital. The population in 2006 was 245,855 inhabitants. Population density is 3,508.2 /km² and the area is 70 km².

Its history brought it an unexpected specialization as a city for artists. This has paid tourism dividends to the city.

History

In 1607 the lands of the village passed to the hands of Fernão Dias (uncle of the bandeirante Fernão Dias, the emerald hunter), In 1690, the priest Belchior de Pontes initiated the construction of the Igreja do Rosário (the Church of the Rosary), when it transferred at the same time to the nucleus of the original village. In 1760, by order of the Portuguese Crown, the Jesuits were expelled from Brazil because of their interference in colonist affairs, such as protecting converted natives from the Bandeiras, which sought to enslave them.

The artistic vocation of the city started to project itself in 1937, when Cássio M'Boy, "santeiro" - sculptor of religious images - in Embu, gained first prize on the Exposition Internationel d'Arts Techniques du Paris. Before that, Cássio had been the professor of some renowned artists and received illustrious representatives of the Modernismo movement of 1922, including Anita Malfatti, Tarsila do Amaral, Oswald de Andrade, Menotti Del Picchia, Volpi and Yoshio Takaoka.

One of Cássio M'Boy's most successful disciples was Sakai do Embu, internationally-known and one of the greatest Brazilian ceramist-sculptors. In 1962, Sakai formed the Solano Trindade group of plastic artists, highly influenced by African-Brazilian art and the religious tradition of the Yoruba orishahs. we have embu in kenya too

The artistic tradition of Embu is an institution with projects and events done both in Brazil and abroad since 1964. The Feira de Artes and Artesanato do Embu (Arts and Handicraft of Embu) was launched in the late 1960s and it has been attracting tourists and revenues to the city ever since.

One of the top Nazi torturers, Josef Mengele was buried in the Nossa Senhora do Rosario cemetery in Embu under his false identity, Wolfgang Gerhard, as the southern region of the city of São Paulo and its borders are known for a sizable German-Brazilian population.

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Category:Populated places in São Paulo (state) Category:Populated places established in 1554

Naruse is known for imbuing his films with a bleak and pessimistic outlook. He made primarily shomin-geki (working-class drama) films with female protagonists, portrayed by actresses such as Hideko Takamine, Kinuyo Tanaka, and Setsuko Hara. Because of his focus on family drama and the intersection of traditional and modern Japanese culture, his films are frequently compared with the works of Yasujirō Ozu. His reputation is just behind Akira Kurosawa, Kenji Mizoguchi, and Ozu in Japan and internationally; his work remains less well known outside Japan than theirs.

Akira Kurosawa called Naruse's style of melodrama, "like a great river with a calm surface and a raging current in its depths".

Life

Naruse's earliest extant work is Flunky, Work Hard (Koshiben gambare, also known as Little Man Do Your Best) from 1931, where he combined melodrama with slapstick, trying to meet the demands set by Shochiku's Kamata studio, who wanted a mix of laughter and tears. In 1933, he quit Shochiku, and began working for Photo-Chemical Laboratories (later known as Toho).

His first major film was Wife! Be Like a Rose! (1935) (Tsuma yo Bara no Yo ni). It won the Kinema Junpo, and was the first Japanese film to receive theatrical release in the United States (where it was not well received). The film concerns a young woman whose father deserted his family many years before for a geisha. As so often in Naruse's films, the portrait of the "other woman" is nuanced and sympathetic: It turns out, when the daughter visits her father in a remote mountain village, that the second wife is far more suitable for him than the first. The daughter brings her father back with her in order to smooth the way for her own marriage, but the reunion with the first wife – a melancholy poetess – is disastrous: They have nothing in common, and the father returns to wife number two.

In the war years, Naruse went through a slow breakup with his wife Sachiko Chiba (who had starred in Wife! Be Like a Rose!). Naruse himself claimed to have entered a period of severe depression as a result of this. In the postwar period he collaborated with others more often, less frequently writing his own scripts. Notable successes included Mother (1952) (Okasan), a realistic look at family life in the postwar period, which received theatrical distribution in France, and 1955's Floating Clouds (Ukigumo), a doomed love story based (like many of Naruse's films) on a novel by Fumiko Hayashi.

When a Woman Ascends the Stairs (1960) (Onna ga kaidan o agaru) tells the story of an aging bar hostess trying to adapt to modern times. The film is notable for having almost no close-up shots or exterior scenes. Scattered Clouds (1967) (Miidaregumo) (a.k.a. Two in the Shadow) was his last film, and is regarded as one of his greatest works. A tale of impossible love between a widow and the driver who accidentally killed her husband, it was made two years before his death.

Film style

Naruse's films contain simple screenplays, with minimal dialogue, unobtrusive camera work, and low-key production design. Earlier films employ a more experimental, expressionist style, but he is best known for the style of his later work: deliberately slow and leisurely, designed to magnify the everyday drama of ordinary Japanese people’s trials and tribulations, and leaving maximum scope for his actors to portray psychological nuances in every glance, gesture, and movement.

Naruse filmed economically, using money- and time-saving techniques that other directors shunned, such as shooting each actor delivering his or her lines of dialogue separately, and then splicing them together into chronological order in post-production (this reduced the amount of film wasted with each retake, and allowed a dialogue scene to be filmed with a single camera). Perhaps unsurprisingly, money is itself a major theme in these films, possibly reflecting Naruse's own childhood experience of poverty: Naruse is an especially mordant observer of the financial struggles within the family (as in Ginza Cosmetics, 1951, where the female protagonist ends up supporting all her relatives by working in a bar, or A Wife's Heart, 1956, where a couple is swindled out of a bank loan by the in-laws).

Filmography

DVD releases (UK, USA)

References

External links

Category:Japanese film directors Category:People from Tokyo Category:1905 births Category:1969 deaths