{"product_id":"the-fountainhead-摩天楼-original-japanese-release-period-film-pamphlet-c-1951-american-picture-news-gary-cooper-patricia-neal-king-vidor-18-25-cm-copy","title":"“The Fountainhead” (摩天楼), Original Japanese Release-Period Press Sheet c. 1951, Gary Cooper \/ Patricia Neal \/ King Vidor, 18 × 25 cm B","description":"\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese release-period press sheet for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, explicitly identified on the front as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“PRESS SHEET \/ プレス・シート”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and catalogued \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecirca 1951\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, from the film’s original Japanese theatrical campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMeasuring approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e18 × 25 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this is a particularly interesting piece of early post-war Japanese film publicity combining a dramatic \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eblack-and-white photographic cover\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, Japanese promotional copy, extensive story material, bilingual cast and production credits, detailed technical information and substantial Japanese critical writing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUnlike a conventional cinema programme intended principally as a souvenir for the audience, this item was produced in the format of a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003epress and publicity sheet\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with unusually dense editorial and production information suitable for introducing and promoting the film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDirected by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and starring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGary Cooper, Patricia Neal and Raymond Massey\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film was adapted by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAyn Rand from her own novel\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Produced in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1949\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, it opened theatrically in Japan on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e31 December 1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with the Japanese release carrying the title \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e摩天楼 (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMatenrō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFilm background\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e follows \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHoward Roark\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a fiercely independent architect who refuses to compromise his designs to satisfy clients, convention or popular opinion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis uncompromising attitude brings him into conflict with the architectural establishment and places him at the centre of relationships with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDominique Francon\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, powerful newspaper proprietor \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGail Wynand\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and conventional architect \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePeter Keating\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt its centre is the intense and difficult relationship between \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRoark and Dominique\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, while the wider narrative develops into a confrontation over \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecreative independence, individual conviction, public opinion and the limits of compromise\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe principal cast includes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGary Cooper as Howard Roark, Patricia Neal as Dominique, Raymond Massey as Gail Wynand, Kent Smith as Peter Keating, Robert Douglas as Ellsworth Toohey, Henry Hull as Henry Cameron, Ray Collins, Moroni Olsen, Jerome Cowan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and other supporting players.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production was overseen by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHenry Blanke\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, directed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and written for the screen by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAyn Rand herself\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, adapting her own novel. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRobert Burks\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e photographed the film and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMax Steiner\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e composed the score.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDesign\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front is considerably different in character from the colourful \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAmerican Picture News\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pamphlet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHere, the design is almost entirely \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eblack and white\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, creating the appearance of a dedicated trade or publicity publication rather than a colourful cinema souvenir.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe central image shows \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGary Cooper and Patricia Neal in evening dress\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, posed closely together against a night-time metropolitan background illuminated by points of city light.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCooper leans towards Neal while she looks directly outward, creating a composition that emphasises the film primarily as a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eromantic and psychological drama\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the upper right appears the enormous Japanese title:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e摩天楼\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eMatenrō — “Skyscraper.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe title is presented in large white characters against a solid black rectangular field, immediately dominating the upper half of the design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt lower left appears:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTHE FOUNTAINHEAD\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ein condensed white English lettering.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt lower right, however, is the feature that most clearly identifies the document:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePRESS SHEET\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eプレス・シート\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is not simply descriptive terminology applied later by collectors—the object \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eidentifies itself as a press sheet on the original printing\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJapanese promotional headlines\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo large Japanese headlines run across the top:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e雷に打たれる思いの熱烈な恋愛場面！\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApproximately:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e“Passionate love scenes with the impact of being struck by lightning!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eImmediately below appears:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e巨匠キング・ヴィダーが放つ問題の恋愛巨篇!!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApproximately:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e“A much-discussed romantic epic from master filmmaker King Vidor!!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe choice of language is revealing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than leading with Rand’s philosophical ideas or Roark’s architectural battle, the Japanese campaign presents the film first as an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eintense, sensational romantic drama\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and prominently promotes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor’s reputation as a major filmmaker\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe restrained photographic design therefore contrasts with extremely energetic promotional copy above it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e“PRESS SHEET” and the publishing marks\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlong the lower portion appear both the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWarner Bros. shield\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and the circular \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMotion Picture Export Association — MPEA — emblem\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeside them appears:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eハリウッド九大会社作品\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eセントラル（CMPE）提供\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eidentifying the film as a production associated with the major Hollywood companies and presented through \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCentral \/ CMPE\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese institutional marks firmly place the piece within the machinery through which American films were promoted and circulated in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eearly post-war Japan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe combination of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWarner Bros., MPEA and Central \/ CMPE markings\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with the explicit English and Japanese \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePRESS SHEET\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e designation, is particularly important to understanding the original purpose of the item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Japanese title\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese theatrical title is:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e摩天楼\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eMatenrō — “Skyscraper.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is not a literal translation of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInstead, the Japanese title focuses directly on the film's \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003earchitectural imagery and modern metropolitan setting\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, giving Japanese audiences an immediately visual concept around which to understand the picture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe enormous treatment of the three kanji on the cover reinforces that emphasis.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eInterior contents\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe press sheet contains \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003econsiderably more information than an ordinary cast-and-credits leaflet\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlongside the English cast list is an unusually extensive \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eproduction-information block\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, preserving not only the principal filmmakers but many of the supporting technical personnel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe English section identifies \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHenry Blanke, King Vidor, Ayn Rand, Robert Burks\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the art and editorial departments, sound personnel, set decoration, special effects, wardrobe, makeup, music and orchestration, assistant direction and unit-management personnel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese material also records the picture as approximately:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e11 reels — 113 minutes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eproviding contemporary technical information about the release print.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe cast and crew information therefore makes this document particularly useful as a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eprimary-source publicity record\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than merely a pictorial souvenir.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe two story synopses\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAnother unusual feature is the presence of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etwo separate complete versions of the film's story\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese are not simply consecutive instalments of one synopsis.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather, the press sheet supplies \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ealternative versions of different lengths\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, each recounting the film's narrative through to its conclusion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe longer treatment gives considerably more narrative detail, while the second presents a more condensed account.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis arrangement is consistent with the practical function of a press sheet: publicity writers, exhibitors or editors could draw on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edifferent lengths of prepared story material\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e depending upon the amount of space available.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth versions centre on Roark's refusal to compromise, Dominique's conflicted attraction to him, Wynand's relationship with both characters and the eventual confrontation over Roark's architectural principles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eContemporary Japanese criticism\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the most significant elements of the document is the substantial essay headed:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「この映画について」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“About This Film.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is accompanied by an illustrated portrait labelled:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eキング・ヴィダー — King Vidor\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ealthough the portrait caption should \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot be interpreted as an authorship credit for the essay itself\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe article goes considerably beyond ordinary publicity copy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt examines \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRoark's uncompromising individualism\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, Dominique's complex and sometimes contradictory behaviour, and the tension created by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGail Wynand's position as a man with enormous worldly power who nevertheless depends upon public opinion\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe writer also considers the differences between Roark's architectural ideals and the expectations imposed upon him by clients and society.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eParticular attention is given to the relationships among \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRoark, Dominique and Wynand\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including questions about whether all aspects of their motivations are fully convincing as drama.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe article therefore approaches the film as something to be \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eanalysed and debated\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than merely advertised.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIndividualism, law and artistic freedom\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe essay is particularly interesting when discussing the film's ideological argument.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt recognises the force of Roark's insistence upon \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eindividual creative conviction\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, but does not simply accept every implication of the character's position without question.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe discussion touches upon the tension between \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eindividual rights and the obligations of society and law\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, distinguishing sympathy for freedom of artistic creation from the much broader proposition that personal conviction automatically overrides all external rules.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a piece of release-period promotional material, this is notably sophisticated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt demonstrates that the Japanese presentation of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e included not only romantic publicity and star promotion but also \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eserious contemporary engagement with the film's ideas\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe essay also places the film within \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor's career\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVidor was already one of the major figures of American cinema by the time of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, with a directing career extending back into the silent period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese text discusses his artistic independence and his ability to move between large-scale studio filmmaking and more personal dramatic material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt also references work from the period following \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBeyond the Forest\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLightning Strikes Twice\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, providing useful contextual evidence for how Vidor's career was being presented to Japanese readers around the time of this release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe final paragraphs therefore function partly as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edirector biography and contemporary film-industry commentary\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRelationship to the “American Picture News” pamphlet\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis press sheet is a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edistinct publication from the separate \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAmerican Picture News\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pamphlet\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe difference is immediately apparent visually.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAmerican Picture News\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e piece uses a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efull-colour illustrated cover\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, commercial advertising, star features and magazine-like editorial presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis second item uses a much more austere \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eblack-and-white press-sheet format\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, foregrounding promotional headlines, synopsis material, comprehensive credits and reusable publicity information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is, however, a particularly interesting connection between them.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「この映画について」 — “About This Film”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e article contained here substantially overlaps with the critical essay printed in the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAmerican Picture News\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pamphlet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe wording and principal arguments concerning \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRoark, Dominique, Wynand, individualism and artistic freedom\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e are closely related, although this version contains differences and additional material, including further discussion of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eVidor's subsequent career\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe two pieces therefore provide an unusually interesting pair: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edifferent Japanese publicity formats for the same release that preserve overlapping editorial material in different contexts\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePress-sheet function and rarity\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe explicit \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePRESS SHEET \/ プレス・シート\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e designation is one of the strongest aspects of this piece.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePress material of this type had a fundamentally practical function.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts purpose was to supply the film's Japanese campaign with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eapproved imagery, cast and production information, synopsis material and editorial copy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e that could be used when presenting the film to newspapers, magazines, exhibitors and other publicity outlets.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSuch material was not primarily designed for long-term preservation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOnce a film had completed its theatrical campaign, working publicity sheets could easily be discarded.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe survival of this example approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethree quarters of a century later\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, complete with its original photographic cover, bilingual information and extensive Japanese editorial material, therefore makes it an especially appealing example of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eearly post-war Hollywood film promotion in Japan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCollector interest\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe appeal of this press sheet lies in the combination of its \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexplicit press-sheet designation, dramatic Gary Cooper \/ Patricia Neal cover image, large Japanese 摩天楼 title, Warner Bros. and MPEA markings, bilingual credits, dual story synopses, detailed technical information and substantial Japanese critical essay\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is especially interesting when considered alongside the separate \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAmerican Picture News\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pamphlet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne is essentially a colourful cinema-publication presentation; the other is a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eworking publicity document\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether they show two very different ways in which \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e was explained and marketed to Japanese audiences during its original release period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors of \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e, Ayn Rand, King Vidor, Gary Cooper, Patricia Neal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, Warner Bros. material or \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eearly post-war Japanese film ephemera\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this is a particularly substantial and historically interesting surviving document.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal vintage condition, with visible age-related wear.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front retains strong photographic definition throughout the principal image of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGary Cooper and Patricia Neal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with the large \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e摩天楼\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTHE FOUNTAINHEAD\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePRESS SHEET\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e typography remaining clear and highly legible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enatural paper toning, light creasing and handling wear\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with wear around the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eouter edges and corners\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, small marginal nicks \/ tears and minor surface marks consistent with a working paper publicity document of this age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse retains the extensive Japanese text and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor portrait\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e clearly, with similar natural toning and light edge wear.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe visible ageing is entirely consistent with an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal release-period paper item dating from around 1951\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and does not detract significantly from the principal printed content.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all photographs carefully; they show the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexact press sheet for sale, front and reverse\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese release-period press sheet for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, catalogued \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecirca 1951\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot a modern reproduction or reprint\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt measures approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e18 × 25 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and is approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e75 years old\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCertificate of Authenticity included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57336390615418,"sku":null,"price":120.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/The_Fountainhead_Pamphlet_2_Press_Sheet_Front_18x25cm.jpg?v=1790899949","url":"https:\/\/japanposter.co.uk\/products\/the-fountainhead-%e6%91%a9%e5%a4%a9%e6%a5%bc-original-japanese-release-period-film-pamphlet-c-1951-american-picture-news-gary-cooper-patricia-neal-king-vidor-18-25-cm-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}