Japanese director Kon Ichikawa has certainly made some interesting and visually stunning films, so I read Cinematheque Ontario's collection of essays by about Ichikawa, Kon Ichikawa (2001). The first essay is appreciation of the director by Yukio Mishima, "Kon Ichikawa," who adapted his novel, Temple of the Golden Pavilion-Conflagration from which the cover still of the book was taken. This, in turn, is followed by Ichikawa in his own words a self-interview by Ichikawa and then an interview with Yuki Mori. Then there is a thorough essay, "Kon Ichikawa," by Japanese film scholar Audie Bock. No collection about a major Japanese director would be complete without an essay by eminent film scholar Donald Richie, here has written an essay called "The Several Sides of Kon Ichikawa." Tom Milne has also contributed an essay that discusses the director's major films in "The Skull Beneath the Skin." There is another interview with Japanese film scholar Joan Mellen: "Interview With Kon Ichikawa." French film critic Max Tessier has two pieces the first an exploration of the darker aspects of Ichikawa's films in ""Kon Ochikawa: Black Humour as Therapy" and "Nostalgia: An Interview with Kon Ichikawa." There's a somewhat less then reverent remembrance from director and former assistant director to Ichikawa, Yasuzo Masumura: "Kon Ichikawa's Method." It is followed one of the finest pieces in this collection from my favorite Japanese critic Tadao Sato: ""Kon Ichikawa." It has interesting discussions of Ichikawa's most important films. Ichikawa discusses adapting Junichiro Tanizaki's novel The Key in "Between Literature and Film." This is followed by a brief essay by Ichikawa in which he explains his motives for adapting Junichiro Tanizaki's The Key in "Between Literature and Cinema." Before reading Keiko McDonald's essay "The Modern Outcast State: Ichikawa's Hakai," I watched the film known as The Broken Commandments. It is an adaptation of a chapter from her book, From Book to Screen: Modern Japanese Literature in Film, which is on my to read shelf. Next up was Dennis Washburn's thorough essay "A Story of Cruel Youth: Kon Ichikawa's Enjo and the Art of Adapting in 1950s Japan", which references McDonald's essay -so the context of the essays is done in a manner so that you've read referenced essays before getting to the newer ones that have referenced them. I was not able to track down a subtitled version of Punishment Room before reading Michael Raine's "Contemporary Japan as Punishment Room in Kon Ichikawa's Shkei no heya." Ichikawa's scriptwriter wife, Natto Wada follows this essay with an explanation of what she was trying to achieve with her adaptation of Shintaro Ishihara's novel The Punishment Room for the screen. McDonald had another addition to this collection with her discussion of The Key, "Viewer's View of Kagi." I have already come across William B. Hauser's essay "Fires on the Plain: The Human Cost of the Pacific War," which appeared in the collection Reframing Japanese Cinema: Authorship, Genre, History edited by Arthur Nolleti Jr. and David Desser. This followed by a brief memoir by Ichikawa: "The Summer of 1945" about the end of the war. Eric Cazdyn's ambitious essay "The Ends of Adaptation: Kon Ichikawa and the Politics of Cinematization" discusses the history of adaptation in Japanese film and how it relates to the freely changed adaptations of Ichikawa, who was known for adapting around 70% of his films. This is followed by a conversation between Ichikawa and Yuki Mori about "Ototo" as well as a short memoir by Ichikawa called "A Record of Ototo." Then Donald Richie discusses Ichikawa's "Ten Dark Women." Then there is another short memoir from Ichikawa, "The Reality of 1961." Catherine Russell's essay "Being Two Isn't Easy: The Uneasiness of the Family in 1960s Tokyo," is one of the stand out essays in the book as she discusses The Japanese Family, gender roles, and modernity in the early 60s. That film is discussed further in "The Uniqueness of Kon Ichikawa: A Symposium" with Ichikawa, Akira Iwasaki, and Kyushiro Kusakabe. Next there is an unusual essay by Linda C. Ehrlich on the artistic foundation of An Actor's Revenge: "Playing with Form: Ichikawa's An Actor's Revenge and the 'Creative Print.'" Scott Nygren also discusses this film in his essay, "Inscribing the Subject: The Melodramtization of Gender in An Actor's Revenge." This followed by another note from Ichikawa about his first use of CinemaScope film in "CinemaScope and Me." Brent Kliewer follows this with "Escaping Japan: The Quest in Kon Ichikawa's Alone on the Pacific."The symposium on Tokyo Olympiad with Eric Cazdynm Abe Mark Nornes, James Quandt, Catherine Russell, and Mistuhiro Yoshimoto was one of the more interesting selections in the book. It looks at the controversy of the film which some officials thought was too artistic and not a good record of the event, but was a box office success anyway. William Johnson makes "Ichikawa and the Wanders" sound like a compelling film in his essay. This followed by another informative interview by Yuki Mori with Ichikawa regarding one of his biggest commercial successes, "The Inugami Family." Kathe Geist follows with "Adapting The Makioka Sisters," which is considered a late masterpiece by Ichikawa. The next essay looks at the formal elements in the film that recall the cinema of Yasujiro Ozu in David Desser's "Space and Narrative in The Makioka Sisters." Aaron Gerow uses Ichikawa's late films as a barometer of the Japanese cinema in recent times in "The Industrial Ichikawa: Kon Ichikawa after 1976." Then there are three reviews of films (Kagi, Fires On The Plain, and The Makioka Sisters )by Pauline Kael, in "Pauline Kael on Kon Ichikawa. Then there is an interview by Mark Schilling from 2000, "Kon Ichikawa at Eighty-six: A "Mid-Career" Interview." This would be the last selection in the book, Ichikawa died in 2008, after making his last films in 2006. A great discussion of a long and varied career of one of Japan's master filmmakers.