DOCSLIB.ORG

Fukuoka Prize 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fukuoka Prize 2013 FUKUOKA PRIZE 2013 Organized by: Fukuoka City, Fukuoka City International Foundation Supported by: Ministry of Foreign Affairs of Japan, Agency for Cultural Affairs of Japan Asia's Jewels of Wisdom JAPAN INDIA THAILAND AUSTRALIA Grand Prize Academic Prize Arts and Culture Prize Arts and Culture Prize NAKAMURA Tetsu Tessa MORRIS-SUZUKI Nalini MALANI Apichatpong WEERASETHAKUL Japan/ Medical Doctor Australia/ Scholar of Asian Studies India/ Artist Thailand/ Filmmaker, Artist Fukuoka Prize Report 2013 Secretariat of the Fukuoka Prize Committee c/o International Affairs Dept., Fukuoka City 8-1, Tenjin 1-chome, Chuo-ku, Fukuoka 810-8620 Japan Tel: +81-92-711-4930 Fax: +81-92-735-4130 Report e-mail: [email protected] http://fukuoka-prize.org/ Facebook: https://www.facebook.com/FukuokaPrize Special Commemorative Prize Grand Prize Academic Prize Arts and Culture Prize Fukuoka Prize Laureates *Numeral indicates which ceremony year the prize was awarded. Japan Mongolia 1 KUROSAWA Akira (Film Director) 4 NAMJILYN Norovbanzad (Vocalist) 1 YANO Toru (Social Scientist, Scholar of Asian Studies) 17 Shagdaryn BIRA (Historian) 2 NAKANE Chie (Social Anthropologist) Nepal China (Scholar of Chinese Studies) (Scholar of Folk Culture Studies) 3 TAKEUCHI Minoru 15 Ram Dayal RAKESH 1 BA Jin (Writer) 4 KAWAKITA Jiro (Scholar of Ethnogeography) 4 FEI Xiaotong (Sociologist, Anthropologist) 5 ISHII Yoneo (Scholar of Southeast Asian Studies) Pakistan 7 WANG Zhongshu (Archaeologist) 6 KARASHIMA Noboru (Historian) 7 Nusrat Fateh Ali KHAN (Qawwali Singer) 13 ZHANG Yimou (Film Director) 7 ETO Shinkichi (Scholar of International Relations) 17 (Culture Expert) Uxi MUFTI 14 XU Bing (Artist) Republic of Korea 8 HIGUCHI Takayasu (Archaeologist) 15 LI Yining (Economist) 3 KIM Won-yong (Archaeologist) Fukuoka 9 UEDA Masaaki (Historian) India 17 MO Yan (Writer) 6 HAHN Ki-un (Scholar of Education) 2 Ravi SHANKAR (Sitar Player) 10 OBAYASHI Taryo (Ethnologist) 20 CAI Guo-Qiang (Contemporary Artist) Hong Kong 8 IM Kwon-taek (Film Director) 12 HAYAMI Yujiro (Economist) 5 Padma SUBRAHMANYAM (Traditional Dancer) 19 Ann HUI (Film Director) Bhutan 9 LEE Ki-Moon (Linguist) 8 Romila THAPAR (Historian) 14 HOKAMA Shuzen (Scholar of Okinawan Studies) 16 Tashi Norbu (Traditional Musician) 16 IM Dong-kwon (Folklorist) 15 Amjad Ali KHAN (Sarod Maestro) Taiwan 17 HAMASHITA Takeshi (Historian) 18 KIM Duk-soo (Traditional Performing Artist) 18 Ashis NANDY (Social and Cultural Critic) 10 HOU Hsiao Hsien (Film Director) 20 MIKI Minoru (Composer) 21 HWANG Byung-ki (Musician) 20 (Scholar of Political Science, History) 18 JU Ming (Sculptor) 21 MORI Kazuko (Scholar of Contemporary Chinese Studies) Partha CHATTERJEE 22 CHO Dong-il (Scholar of Literature) 23 Vandana SHIVA (Environmental Philosopher and Activist ) Laos 24 NAKAMURA Tetsu (Medical Doctor) 16 Douangdeuane BOUNYAVONG (Textile Researcher) 24 (Artist ) Nalini MALANI Bangladesh 12 Muhammad YUNUS (Economist) 19 Farida Parveen (Singer) NAKAMURA Tetsu Vietnam Grand Prize 2013 laureate Nalini MALANI 7 PHAN Huy Le (Historian) Arts and Culture Prize 2013 laureate Philippines Cambodia (Dramatist, Artist) 3 Leandro V. LOCSIN (Architect) Myanmar 8 CHHENG Phon (Ethnologist, Scholar of Khmer Studies) 12 Marilou DIAZ-ABAYA (Film Director) Outside of Asia 11 an Tun (Historian) 22 ANG Choulean 14 Reynaldo C. ILETO (Historian) U.K. 16 aw Kaung (Librarian) Malaysia 23 Kidlat Tahimik (Film Maker) 1 Joseph NEEDHAM (Scholar of Chinese Science History) 4 Ungku A. AZIZ (Economist) U.S.A. 11 Hamzah Awang Amat (Shadow Play Master) 2 Donald KEENE (Scholar of Japanese Literature & Culture) CONTENTS Sri Lanka 13 Lat (Cartoonist) 3 Cliord GEERTZ (Anthropologist) 13 Kingsley M. DE SILVA (Historian) 19 Shamsul A. B. (Social Anthropologist) Fukuoka Prize Laureates ………………… 01・02 6 Nam June PAIK (Video Artist) (Conservator) 15 Roland SILVA …………… 03・04 9 Stanley J. TAMBIAH (Anthropologist) Singapore What is the Fukuoka Prize? 19 Savitri GOONESEKERE (Jurist) 10 TANG Da Wu (Visual Artist) 21 James C. SCOTT (Political Scientist, Anthropologist) Fukuoka Prize 2013 (Singer-Songwriter) …………………………………………… 05 Ireland 14 Dick LEE NAKAMURA Tetsu Tessa MORRIS-SUZUKI …………………………………… 06 11 Benedict ANDERSON (Scholar of Politics) 21 ONG Keng Sen (Theatre Director) Thailand Nalini MALANI ………………………………………………… 07 France …………………… 08 1 Kukrit PRAMOJ (Writer, Statesman) Indonesia Apichatpong WEERASETHAKUL 20 Augustin BERQUE (Scholar of Cultural Geography) 5 (Archaeologist, Art Historian) (Historian, Social Scientist) M. C. Subhadradis DISKUL 2 Tauk ABDULLAH Award Ceremony …………………………………… 09-12 Germany 10 Nidhi EOSEEWONG (Historian) 6 (Anthropologist) 22 Niels GUTSCHOW (Architectural Historian) KOENT JARANINGRAT Exchange Activities 12 (Painter) (Dancer, Scholar of Dance) ……………………………………… 13・14 Australia awan DUCHANEE 9 R. M. Soedarsono NAKAMURA Tetsu Tessa MORRIS-SUZUKI……………………………… 15・16 5 WANG Gungwu (Historian) 18 Srisakra VALLIBHOTAMA (Anthropologist, Archaeologist) 11 Pramoedya Ananta TOER (Writer) Nalini MALANI …………………………………………… 17・18 (Historian) 23 Charnvit KASETSIRI (Historian) 23 G.R.Ay. Koes Murtiyah Paku Buwono (Court Dancer) 13 Anthony REID Apichatpong WEERASETHAKUL …………… 19・20 24 Tessa MORRIS-SUZUKI (Scholar of Asian Studies) 24 Apichatpong WEERASETHAKUL (Filmmaker, Artist） Domestic and Overseas Press Conferences, Other PR Activities and Media Reports …… 21・22 Asian Party, Fukuoka Prize Associated Events …………………………………………… 23・24 Laureates of the Fukuoka Prize … 25-30 Tessa MORRIS-SUZUKI Apichatpong WEERASETHAKUL Academic Prize 2013 laureate Arts and Culture Prize 2013 laureate 01 FUKUOKA PRIZE 2013 02 What is the Fukuoka Prize? Background of the Fukuoka Prize Administration and Selection Organization Chart Sponsors Asia is home to a diversity of ethnic groups, languages, 1990 through the collaboration between academia, busi- Fukuoka City International Foundation Fukuoka City and cultures, which live together and mingle in har- nesses, and the city authorities. Since then, there have Administration mony. Above all, the diverse cultures have served not been 96 prize recipients from almost every region of Fukuoka Prize Committee only as guardians of a priceless legacy of our long history Asia in these 24 years. Selection and tradition, but also as sources of our inspiration. Future-oriented cross-cultural activities should not Fukuoka Prize Jury However, in the current era of globalization, there is be limited to the preservation of the indigenous cultures Academic Prize Arts and Culture Prize a sense of crisis for which Asian cultures may lose their with long history and tradition. It should also be broad- Selection Committee Selection Committee Nominators inherent parts due to the encroaching standardization of ened to observe, respect, learn, and incubate new cul- (Domestic, Overseas) culture. It is therefore vital to preserve, develop, and pro- tures emerging from changes. is is the aspiration of mote the harmonious coexistence of the diverse Asian Fukuoka City and its citizens, striving to become a great cultures. center of cultural exchange in Asia. As Japan’s cultural gateway, Fukuoka City has played e Fukuoka Prize will continue to be an instrument Timeline of the Fukuoka Prize 2013 a signicant role in promoting exchanges with other re- to embody respect to those who have contributed gions in Asia since the early times. Upon this back- greatly to academics, arts, and culture in Asia. In col- Feb. 2013 Selection process of the 279 nominated individuals and groups from 30 countries and ground, and for the purpose of promoting and under- laboration with its citizens, Fukuoka City, as a city in regions,recommended by approximately 7,600 nominators from 54 countries and regions. standing the distinctive cultures of Asia as well as con- Asia, looks forward to widely conveying the values of Arts and Culture Prize Selection Committee (Feb. 3), Academic Prize Selection Committee (Feb. 17) tributing to peace, the Fukuoka Prize was established in distinctive and diverse Asian cultures. March 2013 Reviewed by Fukuoka Prize Jury (Mar. 3) April 2013 Jury and Selection Joint Committees (Apr. 21) June 2013 Fukuoka Prize Committee approves 4 laureates, and announces this at the Fukuoka press conference (Jun. 7) e Fukuoka Prize was established to honor outstanding achievements by individuals July-Aug. 2013 Press conference in Australia (Canberra) (Jul. 9), Press conference in Thailand (Bangkok) (Aug. 2) 1. Objective or groups/ organizations in preserving and creating the unique and diverse cultures of Sept. 2013 Award Ceremony (Sep. 12), School Visit (Sep. 2, 11, and 13), Public Lecture (Sep. 14 and 15), Asia. e aim is to foster and increase awareness of the value of Asian cultures as well as Academic and Cultural Exchange Session (Sep. 14 and 15) to establish a framework within which Asians can learn from, and share with, each other. Oct. 2013 Press conference in India (Mumbai) (Oct. 26) 2. Prize Categories Fukuoka Prize 2013: Jury and Selection Committees Grand Prize Academic Prize Arts and Culture Prize Fukuoka Prize Jury Academic Prize Arts and Culture Prize Prize money: 5,000,000 yen Prize money: 3,000,000 yen Prize money: 3,000,000 yen Selection Committee Selection Committee To be presented to individual/group To be presented to individuals/groups To be presented to individuals/groups Chair Chair Chair who has made outstanding contribu- that have made outstanding achieve- that have made outstanding contribu- ARIKAWA Setsuo INABA Tsugio FUJIHARA Keiyo tions to the preservation and creation
Load more

Recommended publications
  • Il Nuovo Yakuza Eiga: Sviluppo E Caratteristiche Del Genere E Dei Suoi Eroi
    Corso di Laurea Magistrale in Lingue, economie e istituzioni dell’Asia e dell’Africa mediterranea Tesi di Laurea Il Nuovo yakuza eiga: sviluppo e caratteristiche del genere e dei suoi eroi Relatore Ch.ma Prof.ssa Maria Roberta Novielli Correlatore Ch.ma Prof.ssa Paola Scrolavezza Laureanda Elvira Nezi Matricola 840783 Anno Accademico 2016 / 2017 要旨 日本と同じように、イタリアでもマフィアは政治的・経済的に非常に権力のある組織であ る。マフィアが普及するにつれて、そしてお金と勢力を力ずくで手に入れていくにつれて、ますま す市民の平穏な人生と命は脅されるようになった。自分の利益のことを考え、マフィアに属し ている人達が弱い市民からお金をだまし取り、殺すと脅迫し、実際に命を奪う場合も多い。 そのため、イタリア映画に描かれているマフィアのイメージは今も昔も当然良いイメージではな い。 一方、かなり長い間にわたって日本では事実と違うヤクザのイメージが映画を通して伝え られたのは明白である。日本の暴力団はイタリアのマフィアとそれほど異なるわけではないが、 それでも１９２５年ごろから１９７０年代にわたって、ヤクザの極道者が親切で誠実な人 たちとして描かれていた。面白くて興味深いことはヤクザの構成員さえヤクザ映画の展開に 貢献したことである。ヤクザ映画を見たり、作ったりするだけではなく、ヤクザ映画で演じたこと もあるのである。例えば元ヤクザ俊藤浩滋は東映の有名なプロデューサーであった。彼がヤク ザ映画のスターになった安藤昇、高倉健、鶴田浩二をスカウトしたそうである。ちなみに安藤 昇も元ヤクザであった。 では、どうして本当のヤクザはそんな風に振舞うわけではないのに、映画には勇ましいロビ ンフッドとして描かれていたのだろう。どうして極道者であるのに観客の心を奪うことができたの だろう。映画館の観客者の大半は男性であったが、ヤクザ映画のヒーローはその男性にどんな 理想的な男性像を伝えたのだろう。ヤクザ映画は日本社会に関して何を教えているのだろう。 この卒業論文の目的は加藤泰、石井輝男、鈴木清順、深作欣二、北野武の映画を 論じながら、以上の質問の答えを出すことである。そして、ヤクザ映画の主なサブジャンルとそ れぞれのヒーローの誕生と展開を詳しく検討することである。 一般的にヤクザ映画は仁侠映画と実録映画という二つの主なサブジャンルに大きく分 けられている。この論文の核心である上述の監督がそれぞれのサブジャンルの展開に自分な りに貢献し、戦後に誕生した「新しいヤクザ映画」と言われるジャンルを有名にした。 実はもう一つのサブジャンルがあり、股旅映画と呼ばれている。股旅映画は戦前に誕生 したので、ヤクザ映画とは少し異なると言われる。しかし、ヤクザ映画を一層良く理解するた めにまず伊藤大輔や野村芳亭などという映画監督の股旅映画に関して一言述べる必要が あると思う。 旅映画は１９２０年代に誕生した剣劇、いわゆるチャンバラ（剣の音を表す言葉） のサブジャンルである（剣劇は有名な時代劇のサブジャンルである）。股旅映画は時代劇 と違い、主人公が侍ではなく、股旅物と呼ばれているヤクザヒーローであった。この渡世人が 一人で放浪し、あちこち行き先のない旅行をしていた。知らない親分に宿泊を請い、様々な
    [Show full text]
  • Catalogo-Festivaldorio-2015.Pdf
    Sumário TABLE OF CONTENTS 012 APRESENTAÇÃO PRESENTATION 023 GALA DE ABERTURA OPENNING NIGHT GALA 025 GALA DE ENCERRAMENTO CLOSING NIGHT GALA 033 PREMIERE BRASIL PREMIERE BRASIL 079 PANORAMA GRANDES MESTRES PANORAMA: MASTERS 099 PANORAMA DO CINEMA MUNDIAL WORLD PANORAMA 2015 141 EXPECTATIVA 2015 EXPECTATIONS 2015 193 PREMIERE LATINA LATIN PREMIERE 213 MIDNIGHT MOVIES MIDNIGHT MOVIES 229 MIDNIGHT DOCS MIDNIGHT DOCS 245 FILME DOC FILM DOC 251 ITINERÁRIOS ÚNICOS UNIQUE ITINERARIES 267 FRONTEIRAS FRONTIERS 283 MEIO AMBIENTE THREATENED ENVIRONMENT 293 MOSTRA GERAÇÃO GENERATION 303 ORSON WELLS IN RIO ORSON WELLS IN RIO 317 STUDIO GHIBLI - A LOUCURA E OS SONHOS STUDIO GHIBLI - THE MADNESS AND THE DREAMS 329 LIÇÃO DE CINEMA COM HAL HARTLEY CINEMA LESSON WITH HAL HARTLEY 333 NOIR MEXICANO MEXICAN FILM NOIR 343 PERSONALIDADE FIPRESCI LATINO-AMERICANA DO ANO FIPRESCI’S LATIN AMERICAN PERSONALITY OF THE YEAR 349 PRÊMIO FELIX FELIX AWARD 357 HOMENAGEM A JYTTE JENSEN A TRIBUTE TO JYTTE JENSEN 361 FOX SEARCHLIGHT 20 ANOS FOX SEARCHLIGHT 20 YEARS 365 JÚRIS JURIES 369 CINE ENCONTRO CINE CHAT 373 RIOMARKET RIOMARKET 377 A ETERNA MAGIA DO CINEMA THE ETERNAL MAGIC OF CINEMA 383 PARCEIROS PARTNERS AND SUPPLIES 399 CRÉDITOS E AGRADECIMENTOS CREDITS AND AKNOWLEDGEMENTS 415 ÍNDICES INDEX CARIOCA DE CORPO E ALMA CARIOCA BODY AND SOUL Cidade que provoca encantamento ao olhar, o Rio Enchanting to look at, Rio de Janeiro will once de Janeiro estará mais uma vez no primeiro plano again take centre stage in world cinema do cinema mundial entre os dias 1º e 14 de ou- between the 1st and 14th of October.
    [Show full text]
  • Cineclubuned 24.Pdf
    Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07
    [Show full text]
  • Municipal Facilities[PDF,136KB,5Pages]
    HIRO CLUB NEWS ・ EVENTS G Facilities v Te n j i Onshitsu (hothouse exhibitions) (Address / Telephone / Open Hours / Closed / { Geraniums / Sat., Mar. 10 - Wed., Apr. 18 Admission Fee / URL) Admission is generally allowed up to 30 min. prior v Okugai Te nji-jo (outdoors exhibitons) to closing. { Christmas Roses / Sat., Feb. 24 – Sun., Mar. 4 P Hiroshima City Forest Park & <Lectures> Insectarium { Christmas Roses / Sat., M a r. 3 & Sun., Mar. 4 / (173 Fujigamaru, Fukuda-cho, Higashi-ku 732- 11:00 am – noon 0036 / Forest Park: 899-8241, Insectarium: 899- { Floral Decorations / Sun., M a r. 4 / j 11:00 8964 / Forest Park: 9:00 am – 4:30 pm; am - noon k 1:30 pm - 2:30 pm Insectarium: 9:00 am - 4:30 pm / Closed: Forest { Junior Project / Sun., M a r. 1 1 / j 11:00 am – Park – Mar. 7, 14, & 22; Insectarium – Mar. 7, 14, noon k 1:30 pm – 2:30 pm 22 & 28/ Admission Fees for the Insectarium: { Lecture on Plant Dyeing / Sun., Mar. 18 / Adults-¥510, Seniors & High school students-¥170, 1:30 pm – 3:30 pm Junior High & Elementary school students-Free (Free admission for High school students on Saturdays (except on national holidays and during ¿ 5-Days Children’s Museum of Culture school holidays)) / Forest and Science Park: http://www.daiichibs-shitei.com/forest/ (5-83 Moto-machi, Naka-ku 730-0011 / 222-5346 / Insectarium: http://www.hiro-kon.jp/) 9:00 am - 5:00 pm / Closed on M a r. 5 – 9, 12, 19, 22 & 26 / Admission fee for planetarium is Events at the Forest Park required (see below).
    [Show full text]
  • Read Ebook {PDF EPUB} Whisper of the Heart by Aoi Hiiragi Whisper of the Heart Remains Studio Ghibli’S Most Moving Outlier
    Read Ebook {PDF EPUB} Whisper of the Heart by Aoi Hiiragi Whisper of the Heart remains Studio Ghibli’s most moving outlier. The first and only film from Miyazaki protégé Yoshifumi Kondo stands among the studio’s best works. T wenty five years after its release in Japan, Studio Ghibli’s first theatrical film not directed by either of its co-founders, Hayao Miyazaki and Isao Takahata, stands among its very best. Based on the 1989 manga of the same name by Aoi Hiiragi, Whisper of the Heart is every bit as soulful and thoughtful as the work of director Yoshifumi Kondo’s mentors. It’s said that Kondo would have been their successor, but tragically the animator died from illness in 1998. Written for the screen by Miyazaki, the film observes teenage girl Shizuku (Yoko Gonna) living in Tama Hills in Tokyo. When we meet her, an unknown boy Seiji has taken out 3 of the same books as her, and her imagination begins to whir – what is Seiji like? The curiosity spurs her on to look for him, and she soon finds his grandfather Shiro’s shop, and with it inspiration to start creating her own work. From its opening, Whisper of the Heart’s romantic view of the city at night already strikes a different tone to previous Ghibli films, which often concern man’s encroachment on nature’s territory. Swooning cuts of blimps, pylons and other evidence of human connection overtake views of forests and open landscapes, with soundscapes of cicadas, trains and cars mixed with classical and electronic notes from composer Yuji Nomi (a mentee of Ryuchi Sakamato).
    [Show full text]
  • Wolf Children
    PRESENTS WOLF CHILDREN A MAMORU HOSODA FILM Running time: 117 minutes Certificate: TBC Opens at UK cinemas on 25th October Press Contacts Elle McAtamney – [email protected] For hi-res images/production notes and more, go to – www.fetch.fm To the children, a movie like a delightful, fun fairy tale… To the youth, to make raising children, which they have yet to experience, seem full of surprises and wonder… And to the parents, to let them reminisce about their children’s growth… I am striving to make an invigorating movie that satisfies the principles of entertainment. Mamoru Hosoda Director, screenwriter, author of original story INTRODUCTION The long-awaited new film by Director Mamoru Hosoda! Yet another movie that enthralls people of all generations!! In “The Girl Who Leapt Through Time” (2006), he depicted the radiance of youth in flashing moments of life. In “SUMMER WARS” (2009), he told a story about a miracle, of how the bond between people saved Earth’s crisis, and the film swept awards domestic and abroad. Mamoru Hosoda has become the most noted animation director in the world. Why do his works appeal to people of all generations? His stories are not about the extraordinary, and they are not about superheroes. Set in towns that could really exist, the main characters are surrounded by ordinary people and are troubled by slightly unique circumstances, which they struggle to overcome. Based on well-thought-out scenarios, these real-to-life stories are made into dynamic animation. That’s why the main characters seem so familiar to us and draw our sympathy, and we get excited watching how they fare.
    [Show full text]
  • Kinji Fukasaku, El Cine De La Crueldad.Japan Cult Cinema 19
    Kinji Fukasaku, el cine de la crueldad.Japan Cult Cinema 19/29.05.06 Otra forma de ver cine Kinji Fukasaku, el cine de la crueldad.Japan Cult Cinema Viernes 19 20.30h Kinji Fukasaku, el cine de la crueldad (I) Policía contra el crimen organizado (Kenkei tai shoshiki boryoku / Cops v Thugs), de Kinji Fukasaku. Japón, 1975. 100’. V.O.S. en inglés y español electrónico. Sábado 20 20.30 h Kinji Fukasaku, el cine de la crueldad (II) Mafioso callejero (Gendai yakuza: hito-Kiro yota / Street Mobster), de Kinji Fukasaku. Japón, 1972. 92’. V.O.S. en inglés y español electrónico. Domingo 21 20.30h Kinji Fukasaku, el cine de la crueldad (III) Japan organized crime boss - Nihon boryoku- dan: Kumicho, de Kinji Fukasaku .Japon, 1969. 97’. V.O.S. en inglés y español electrónico. Viernes 26 20.30h Kinji Fukasaku, el cine de la crueldad (IV) Simpatía por los perdedores (Bakuto gaijin butai/ Sympathy for the Underdog), de Kinji Fukasaku. Japón, 1971. 93’. V.O.S. en inglés y español electrónico. Sábado 27 20.30 h Kinji Fukasaku, el cine de la crueldad (V) Codicia a la luz del día (Hakuchu no buraikan/ Greed in Broad Daylight), de Kinji Fukasaku. Japón, 1961. 82’. V.O.S. en inglés y español electrónico. Domingo28 20.30 h Kinji Fukasaku, el cine de la crueldad (y VI) Samurai del Shogun (Yagyû ichizoku no inbô/The Shogun's Samurai/ The Yagyu Conspiracy), de Kinji Fukasaku. Japón, 1978. 130’. V.O.S. en inglés y español electrónico. - 2 - Otra forma de ver cine La Cinemateca UGT, Casia Asia y Japan Foundation, presentan el ciclo: Kinji Fukasaku, el cine de la crueldad.
    [Show full text]
  • Cinestar IMAX® Ab 10:00 Uhr Vorverkaufsgebühr Von € 2,00 Erhältlich
    Donnerstag, 11.2. Freitag, 12.2. Samstag, 13.2. Sonntag, 14.2. Montag, 15.2. BACK TO THE ZOO Dieter Kosslick, Festivaldirektor in Kino ist wieder auferstanden, der legendäre Zoo Palast. E Dem schlafenden Riesen im Westen der Stadt wurde denk- malgerecht neues Leben eingehaucht. Dank der Investoren und vor allem des Denkmalschutzes strahlt der große Saal in neuem und altem Glanz. Auch der wunderschöne rosarote Vorhang hängt an der alten Stelle. Ein veritables Statement für die Zukunft ©Marc Ohrem Leclef Ohrem ©Marc des Kinos, nicht nur für den Zoo Palast. Von 1957 bis 1999 war der „Zoo“ Premierenkino der Berlinale: 123 Goldene, 268 Silberne und 8 Bronzene Bären wurden hier überreicht. Stars wie Dustin Hoffman, Sophia Loren, Gregory Peck oder Billy Wilder zeigten hier ihre Filme. Jetzt wird er wieder Spielort für die Sektionen Berlinale Special, Generation, Panorama, Forum, Berlinale Shorts und NATIVe. Auch der stetig wachsende European Film Market nutzt die neuen Kinosäle, und die Deutsche Filmakademie wird hier eine neue Heimat für ihre LOLA-Vorführungen finden. Also – im Westen was Neues. Und schön ist: Die alten Treffpunkte sind noch da. Das sind die Paris Bar, das Florian am Savignyplatz, das Palace Hotel, das Kempinski, das Crowne INHALT Plaza und das Ellington in der Nürnberger Straße. Auch der Kur fürsten damm strahlt in Kartenvorverkauf ________________ 4 neuem Glanz und gegenüber das neue Waldorf Astoria. Kartenpreise ____________________ 5 Und wenn wir schon in den Westen schwenken: Neben dem „Zoo“ präsentieren traditio- nell auch der Delphi Filmpalast und das filmkunst 66 weiteres Berlinale-Programm. Kinoadressen ____________________ 5 Einem Meister des sozialkritischen Films, Ken Loach, gebührt der diesjährige „Goldene Information & Service ______________ 6 Ehrenbär“.
    [Show full text]
  • The Yakuza Movie Book
    THE YAKUZA MOVIE BOOK A GUIDE TO JAPANESE GANGSTER FILMS MARK SCHILLING STONE BRIDGE PRESS • BERKELEY, CALIFORNIA CONTENTS 11 Foreword 126 Akira Kobayashi (1937-) 127 HirokiMatsukata(1942-) INTRODUCTION 128 JoShishido(1933-) 19 A Brief History of Japanese Yakuza Films 130 BuntaSugawara(1933-) Bunta Sugawara Interview 132 DIRECTOR PROFILES & INTERVIEWS 143 KenTakakura(1931-) 43 Kinji Fukasaku (1930-2003) 145 Riki Takeuchi (1964-) Kinji Fukasaku Interview 46 146 Koji Tsuruta (1924-87) 55 Teruolshii(1924-) 148 Tatsuo Umemiya (1938-) Term Isbii Interview 51 149 Tomisaburo Wakayama (1929-92) 70 Tai Kato (1916-85) 150 Tetsuya Watari (1941-) 73 Takeshi Kitano ("Beat" Takeshi; 1947-) 76 TakashiMiike(1960-) FILM REVIEWS Takashi Miike Interview 78 155 AHomansu(l986) 85 RokuroMochizuki(1957-) Rokuro Mochizuki Interview 87 156 Abashiri Bangaicbi (A Man from Abashiri Prison, 1965) 95 Seijun Suzuki (1923-) Seijun Suzuki Interview 98 156 Abashiri Bangaicbi: Bokyohen (A Man from Abashiri Prison: Going Home, 1965) ACTOR PROFILES & INTERVIEWS 157 Adrenaline Drive (1999) 109 ShowAikawa(1961-) Show Aikawa Interview 110 158 Akumyo (Tough Guy, 1961) 119 Noboru Ando (1926-) 159 American Yakuza (1994) Noboru Ando Interview 121 160 Ankokugai no Kaoyaku (The Big Boss, 123 Junko Fuji (1945-) 1959) 125 Shintaro Katsu (1931-97) 161 Asu Naki Machikado (End of Our Own Real, 1997) 162 Bakuchiuchi Socho Tobaku (Big Gambling 193 Gokudo no Onnatachi (Gang Wives, 1986) Ceremony, 1968) 197 Gokudo no Onnatachi: Kejime (Gang 164 Bakuto Gaijin Butai (Sympathy for the Wives:
    [Show full text]
  • Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
    Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences.
    [Show full text]
  • Kinotayo 2013 — Section Classique — Retour Sur Le Film De
    ittle Girl in Me” Film Partners L 2012 “The © nc. I pache A Film Partners © 2013 “The Great Passage” Film Partners Passage” 2013 “The © Great IES © 2012 L AN AN P JA 8e 3 > 21 © 2012 ÉDITION DÉCEMBRE 2013 第八回 JANVIER 2014 EN RÉGIONS Programme : 22 films dont 7 en compétition Rencontres avec trois réalisateurs FEstivaL Hommage à Yasujiro Ozu : 現 DU FILM JAPonais ses chefs-d’œuvre en couleurs restaurés ContEMPORain Documentaires : culture et société 代 Avant-premières : WWW.KinotaYO.FR WARA NO TATE de Takashi Miike OUtraGE BEYOND de Takeshi Kitano 日 Section classique : retour sur le film de gangster, un genre majeur du cinéma japonais 本 ” Film Partners 映 BLACK DAWN 画 © 2012 “ 祭 tory of Yonosuke” Film Partners Yonosuke” tory of S ueki Ressha Film Partners ueki Ressha A K © 2013 “ © © 2012 © Fidèle à sa volonté de vous faire voyager dans l’actualité MARDI 3 DÉCEMBRE 2013 À 20H du septième art japonais, le Festival Kinotayo, est CÉRÉMONIe d’OUVERTURE DU FEstivaL KINOTAYO 2013 e KINOTAYO 2013 heureux de vous présenter, pour sa 8 édition, 7 longs Avant-PREMIÈRE PARISIENNE métrages de grande qualité, produits et sortis entre AU GAUMONT OPÉRA PREMIER — 2012 et 2013, en sélection officielle pour l’attribution — des Soleils d’Or 2013. ÉDito Plusieurs réalisateurs viendront présenter leur ÉVÉNEMENTS film : Tatsushi Omori pour BOZO (2012), Shoji Kubota pour The Little Girl in Me (2012), et Shuichi Okita pour A Story of Yonosuke (2013). Parallèlement à la sélection officielle, Kinotayo proposera en avant-première au public parisien OUtragE BEyond de Takeshi Kitano. Suite indépen- dante d’OUtragE, ce film de gangster est un huis-clos féroce sur le monde de la pègre qui, fort heureuse- elluloid Dreams ment, ne manque pas d’humour… À cette occasion, C des films marquants de ce genre majeur au Japon sont © 2013 © proposés dans notre section classique initiée en 2012 : La pivoine rouge, Le cimetière de la morale et des œuvres comme Romance noire de Tatsuoki Hosono WARA NO TATE avec Koji Yakusho dans un rôle inattendu de truand en 藁の楯 (wara no tate) mal d’amour.
    [Show full text]
  • Bitcoin and the Japanese Retail Investor
    BITCOIN AND THE JAPANESE RETAIL INVESTOR by Maksym Grinenko Graduate Programme for Transcultural Studies eighth generation Heidelberg University A dissertation submitted in fulfllment of the requirements for the degree of Doctor of Philosophy under the supervision of Prof. Dr. Harald Fuess Prof. Dr. Hans Martin Krämer July 29, 2019 Abstract The objective of this research is to examine the Bitcoin rally of 2017 as it occurred in Japan and establish a greater context for why it was the Japanese retail investors that propelled the nation to being the largest trader of the cryptocurrency at the end of the year. This dissertation begins with the examination of the technical and economical properties of Bitcoin by classifying it as fulflling two roles: that of a means of payment and that of an investment commodity. Following that is a description of Bitcoin’s roots and the history of its non-speculative usage. These chapters serve as a base for examin- ing the cryptocurrency’s role in Japan. The third chapter examines the Japanese retail investor and the Japanese retail investment landscape with a focus on the question of the low rates of risk-asset participation in face of a favorable investment environment. Historical context is drawn upon to argue that the present situation, wherein most fnan- cial assets are kept as cash, is rather the result of the historical path dependence than the present-day conditions in which Japanese retail investors operate. The fnal chapter addresses the question of high-risk activities in the form of gambling and margin trading by a group of predominantly middle-aged men and connects this propensity to engage in zero-sum games with Bitcoin’s success in Japan.
    [Show full text]