Try our affiliated browser extension - redirect to BreezeWiki automatically!

Akio Jissoji

Akio Jissoji (実相寺 昭雄, Jissōji Akio) was a Japanese director, screenwriter and novelist, known for his his unique visual style and filming techniques, as well as his unorthodox themes and fantastical depictions of reality. He directed Ultraman Series episodes in the Showa and Heisei eras. He was also known for his collaborations with the Art Theatre Guild.

Jissoji used stage names Yuri Manpukuji (万福寺 百合, Manpukuji Yuri) for his unused Ultra Q scripts and Takashi Kawasaki (川崎 高, Kawasaki Takashi) for his Ultraseven scripts.

Career

Akio Jissoji was born in Tokyo in 1937, but during the Second World War, he and his family lived in China. Afterwards, they returned to Japan and settled in Kawasaki. Inspired by French cinema, he attended Waseda University, where he majored in French literature. After graduating in 1959, he began working for Tokyo Broadcasting System, directing dramas and musicals with cues taken from French cinema.

He first began to work with Eiji Tsuburaya in 1965 when TBS executives reassigned him to Tsuburaya Productions due to their distaste for his strange directorial style. During this time, he submitted two scripts for Ultra Q, neither of which were accepted, and directed a documentary on Eiji Tsuburaya called "The Father of Ultra Q" and The Birth of Ultraman stage show. He soon began working on episodes of Ultraman and Ultraseven, becoming notable for the maverick style of his direction for the series.[1]

After Ultraseven ended, Jissoji began to dabble with experimental short films (often pornographic in nature) as well as submit storylines for other Ultraman shows (only one of which was accepted). Then, after a brief retirement, he returned to directing movies in 1988, with varying degrees of success. In 1996, he returned to television when Tsuburaya resurrected the Ultraman franchise with Ultraman Tiga. Afterwards, his work on Ultraman became more sporadic as he focused more on theatrical projects, continuing to work until he died in 2006 from stomach cancer.

Directorial Style

Many of his works for the Ultraman Series are noted by fans for being unorthodox in their storytelling and camerawork, often turning conventions of the franchise formula upside-down. Some of them even border on surrealist, similar to the arthouse movies he worked on in the 1970s. This made him controversial with some of his fellow directors, notably Samaji Nonagase, who voiced a strong dislike for the the infamous scene in which Shin Hayata mistakenly attempts to use a spoon instead of the Beta Capsule.

Works

Literature

Other Works

  • Mujo (1970)
  • Mandala (1971)
  • Poem (1972)
  • Lanterns on Blue Waters (1983)
  • Tokyo: The Last Megalopolis (1987)
  • Murder on D Street (1998)
  • The Summer of the Ubume (2005)
  • Die Silbermaske (2006)

Gallery

Art

Trivia

  • Jissoji often includes a raccoon plush toy named Chinabo (ちな坊, Chinabō) in his works, which he refers to as his son. Chinabo also has a younger brother named Kuruzu (窮作) as well as a cousin named Minobo (みの坊, Minobō).[23]

References