Cine Club 2010

Total Page:16

File Type:pdf, Size:1020Kb

Cine Club 2010 Banco Central de Reserva del Perú CINE CLUB 2010 Auditorio del Museo BCRP, Esquina jirones Lampa y Ucayali - Lima JULIO: HOMENAJE A AKIRA KUROSAWA EN SU CENTENARIO Miércoles 7 - 5:00 p.m. RASHOMON De Akira Kurosawa. Japón, 1950. Con Toshiro Mifune, Masayuki Mori, Machiko Kyo, Takashi Shimura. 1h. 28 min. Premios: León de Oro en el Festival de Venecia y Oscar a la mejor película extranjera. El impacto del lme en Venecia supuso además el descubrimiento del cine japonés en occidente y el relanzamiento denitivo de la carrera de Kurosawa. El bandido Tajomaru asesinó en el bosque a un samurai y violó a su mujer. La película nos muestra el hecho desde los diferentes puntos de vista de sus protagonistas: el bandido, la mujer y el samurai, a los que se añade la versión del leñador, testigo ocasional del suceso. Kurosawa no desperdicia metraje, cada minuto es útil a la comprensión del espectador. Miércoles 14 - 5:00 p.m. DERSU UZALA De Akira Kurosawa. URSS-Japón, 1974. Con Maxim Munzuk, Yuri Solomin, Svetlana Danilchenko. 2h. 17 min. Premio: Oscar a la mejor película extranjera. Gran premio y premio Fipresci en el Festival de Moscú. David di Donatello a la mejor película del año. Declarada por la UNESCO “Memoria del Mundo”. Vladimir Arseniev explora la región de Ossouri, en la taiga rusa, se encuentra con Dersu Uzala, cazador infalible, que se convierte en su guía. Amante de la naturaleza, Uzala conduce a Vladimir hasta regiones desconocidas, haciéndole superar mil y una dicultades y respetando siempre su entorno natural. Con Dersu Uzala, Kurosawa encuentra en el protagonista un personaje próximo así mismo, intelectual abierto y de buena voluntad, listo para aprender las reglas elementales de la vida de la boca de un ser simple, construyendo en este sentido una cinta madura y plena de emoción. Miércoles 21 - 5:00 p.m. KAGEMUSHA, LA SOMBRA DEL GUERRERO De Akira Kurosawa. Japón, 1980. Con Tatsuya Nakadai, Tsutomu Yamazaki, Keniche Hagiwara. 2h. 31 min. Premio de la Academia Británica a mejor director, Palma de Oro en el Festival de Cannes, Cesar y David di Donatello a la mejor película extranjera. Con la perfección estética y el lenguaje depurado, Kurosawa realiza Kagemusha, de una belleza excepcional, tan impresionante como una misa solemne. Es el intento de recuperar un momento crucial de la historia del Japón, el complejo siglo XVI, para transmitir un mensaje sobre la identidad humana y el fantasma de la guerra. Desaparecido el poder central, 360 feudos, con sus respectivos clanes y señores, se disputan la supremacía de Tokio. La película narra los tres últimos años del clan Takeda, cuyo señor Shingen intenta reunicar el territorio. Al morir en batalla, es sustituido por un doble (kagemusha) hasta que la ambición del poder de su hijo Katsuyari provocan la catástrofe y la destrucción del clan. MUSEO DEL BANCO CENTRAL DE RESERVA DEL PERÚ MUSEO NUMISMÁTICO DEL PERÚ Esquina Jrs. Lampa y Ucayali, Lima Horarios: Jirón Junín 781, Lima Telf. 6132000 anexos 2655 - 2656 Mar, Jue y Vie: de 10:00 a 16:30 hrs. Telf. 6132000 anexos 5951 - 2656 [email protected] Mié: de 10:00 a 19:00 hrs. Horario: http://museobcr.perucultural.org.pe Sáb y Dom: de 10:00 a 13:00 hrs. Lun - vie: de 10:00 a 16:30 hrs..
Recommended publications
  • Akira Kurosawa's Adaptation of Vladimir Arseniev's Dersu Uzala
    Olga Solovieva University of Chicago Migration – Memory – Translingualism: Akira Kurosawa’s Adaptation of Vladimir Arseniev’s Dersu Uzala (1975) The film Dersu Uzala (1975), Akira Kurosawa’s adaptation of the diaries and memoirs of the Russian explorer of Siberia Vladimir Arseniev, represents one of the director’s many attempts to make his cinema into Japan’s entryway into the global community of nations. The price of this entry is the acknowledgement as well as forgetting of uncomfortable historical facts. Kurosawa’s film is dedicated to a friendship between the Russian officer Arseniev and his guide, the nomad Dersu, in the course of Arseniev’s exploration of Siberia in 1902-1907. By celebrating the enabling and productive potential of translinguistic and transcultural misunderstandings, Kurosawa overturns the colonial hierarchy of values and understanding of transmission of knowledge. His cinematic memorial to a Nanai tribesman acknowledges and laments Japan’s participation in the extermination of the minority peoples of the Manchukuo state and in the destruction of pre-industrial pan-Asian Siberia. Olga Solovieva is Assistant Professor of Comparative Literature at the University of Chicago. Her work brings into dialogue texts and concepts from numerous disciplines, including literature, film, religious studies, art history, philosophy and law. She is interested in what can "be done with words": this leads her to focus on the history of rhetoric, performance, communication, interdisciplinary narratology, and media studies, particularly in their material and corporeal aspects. Her book, Christ’s Subversive Body: NICOLAUS COPERNICUS UNIVERSITY IN TORUŃ Faculty of Languages, ul. Fosa Staromiejska 3, 87-100 Toruń, Poland, tel.
    [Show full text]
  • An Introduction to Vladimir Arsen'ev's Life
    INTRODUCTION An Introduction to Vladimir Arsen’ev’s Life Work, Colleagues, and Family AMIR KHISAMUTDINOV Abstract: The article is devoted to the famous explorer and writer Vladimir Klavdievich Arsen’ev (1872–1930). He arrived in the Rus- sian Far East in 1900, where he conducted numerous research ex- peditions and engaged in a comprehensive study of the Far East. Arsen’ev studied the lives of the region’s indigenous peoples and published several books, Dersu Uzala being the most famous one. This article is based on Arsen’ev’s personal archives, which are stored in Vladivostok. The article chronicles his life in the Soviet period. It also discusses the punishment of his wives and children. Keywords: Dersu Uzala, ethnography, indigenous people, purges, Soviet era, Vladimir K. Arsen’ev Beginnings Vladimir Klavdievich Arsen’ev, the most famous Russian explorer of the Far East, said on the eve of his death, “I look to the past and see that for myself I did follow a lucky star.”1 Through the Bolshevik Revolution and through the purges, his fate and that of his relatives were typical for that period. Arsen’ev was born in St. Petersburg on August 29, 1872. A little- known fact is that “Arsen’ev” was not his real last name; rather it was Goppmeier, a Dutch name. Arsen’ev’s grandfather was Fedor (Teodor) Ivanovich Goppmeier, who died in 1866. He was the manager of an estate, who had a son, Klavdii Fedorovich, born on March 11, 1848. Gopp meier did not succeed in having Klavdii legalized, so he was given the surname of a man called Arsenii, who was present at his christen- ing, hence the name “Arsen’ev.” In retrospect, this was a fortunate turn Sibirica Vol.
    [Show full text]
  • DERSU UZALA (Dersu Uzala) Dir
    DERSU UZALA (Dersu Uzala) DIR. AKIRA KUROSAWA SINOPSIS El capitán Arseniev y su destacamento tienen que realizar unas prospecciones geológicas en los bosques de la taiga siberiana. La inmensidad del territorio y la dureza del clima hacen que se extravíe. Condenado a vagar por una tierra salvaje, Vladimir conoce a Dersu Uzala, un cazador nómada que conoce el territorio como la palma de su mano y sabe cómo afrontar las inclemencias del tiempo. Dersu enseñará al capitán a respetar la naturaleza y a convivir en plena armonía con ella, una lección que difícilmente olvidará el resto de su vida. FICHA ARTÍSTICA Arsenev ....................................................................................................................YURIY SOLOMIN Dersu Uzala ......................................................................................................... MAKSIM MUNZUK Anna ........................................................................................................ SVETLANA DANILCHENKO Turtygin ............................................................................................................. VLADIMIR KREMENA Vova .................................................................................................................DMITRIY KORSHIKOV Chzhan Bao ........................................................................................... SUYMENKUL CHOKMOROV FICHA TÉCNICA Dirección .............................. AKIRA KUROSAWA Música ...................................ISAAC SCHWARTS Guion.................................
    [Show full text]
  • Dersu the Trapper Free
    FREE DERSU THE TRAPPER PDF V. K. Arseniev,Jaimy Gordon,Malcolm Burr | 352 pages | 08 Jun 2000 | McPherson & Co Publishers,U.S. | 9780929701493 | English | New York, United States Dersu Uzala - Wikipedia Eighty years ago, inthe eminent Russian explorer Vladimir Klavdievich Arseniev published a memoir that he Dersu the Trapper Dersu the Trapper. It has been beloved of Russian readers ever since—at least when the book has been available to them, for it has often been censored and suppressed. Dersu describes the fortunes of an expedition, organized by Arseniev into map the cold, then-uncharted and even today little-known region where Manchuria and Korea meet southeastern Siberia. Arseniev Dersu the Trapper his party of soldiers and hunters were almost immediately lost in the high Sikhote Alin Mountains. A native trapper named Dersu rescued them and, moved by pity for these hapless Europeans, undertook to teach them something of that difficult land. In doing so, he saved their lives many times over. Dersu the Trapper is a true classic, although its author did not live to see it become so esteemed. Eight years Dersu the Trapper his wife Dersu the Trapper executed on the false pretext of being a Japanese spy; his daughter disappeared into the camps. Released in the United States on December 20,Dersu Uzala remains one of the finest works of artistic ethnography ever committed to film. It is also, to my mind, one of the finest films ever made, Dersu the Trapper. Its screenwriter, Yuri Nagibinwas renowned in Russia for his lyrical short stories, only a few of which have been translated into English.
    [Show full text]
  • The Political Ecology of Vladimir Arsen'ev
    The Political Ecology of Vladimir Arsen’ev SERGEY GLEBOV Abstract: The article describes the life and work of Vladimir Klavdievich Arsen’ev in the context of the development of settler colonial project in the Far East. The article argues that Arsen’ev, a military officer and a self-taught geographer and ethnographer, shared in a political ecology, which combined “defense” of native peoples and the nature of the Russian Far East with racialized views of Chinese and Korean immigrants. This political ecology, in par- ticular, led Arsen’ev to take part in military operations designed to cleanse remote parts of the Ussuri region of the Chinese and to de- velop administrative proposals on the governance of native peoples, which foreshadowed Soviet projects. Keywords: Chinese in Russia, ethnography, Far East, Koreans in Russia, native peoples of the Russian Far East, political ecology, Russian empire, settler colonialism, Vladimir Klavdievich Arsen’ev. ladimir Klavdievich Arsen’ev (1872–1930) emerged as arguably Russia’s most popular writer whose works focused on the native Vpeoples of Siberia and the Far East. His texts created a canonical image of a Siberian native. In Arsen’ev’s writings, Dersu Uzala (a native Nanai guide who accompanied Arsen’ev in his travels in the Ussuri region of the Russian Far East) combined ecological sensitivities with a moral compass and became the most recognizable indigenous Siberian. Ar- sen’ev’s prose was light, vivid, and accessible, and his texts drew on a long tradition of adventure literature while claiming the documentary status of travelogues. Still, this canonization was also due to the fact that the Soviet party-state incorporated Arsen’ev into the standard staple of Soviet culture as early as the 1950s.
    [Show full text]
  • UC Berkeley Recent Work
    UC Berkeley Recent Work Title Weaving Shuttles and Ginseng Roots: Commodity Flows and Migration in a Borderland of the Russian Far East Permalink https://escholarship.org/uc/item/5r96h3sb Author Holzlehner, Tobias Publication Date 2008-09-01 eScholarship.org Powered by the California Digital Library University of California Weaving Shuttles and Ginseng Roots: Commodity Flows and Migration in a Borderland of the Russian Far East Tobias Holzlehner Fall 2007 Tobias Holzlehner is an Assistant Professor of Anthropology at the University of Alaska, Fairbanks. He was the 2006-2007 Mellon-Sawyer Postdoctoral Fellow at the U.C. Berkeley Program in Soviet and Post-Soviet Studies. Acknowledgments The author is grateful for the Mellon-Sawyer Postdoctoral Fellowship at the Berkeley Program in Soviet and Post-Soviet Studies and a Wenner-Gren dissertation fieldwork grant, which made the different stages of this research possible. He would like to thank all the members of the BPS contemporary politics working group for their valuable comments and suggestions, especially Edward (Ned) Walker and Regine Spector for their time and work spent editing different versions of the paper. All shortcom- ings are the sole responsibility of the author. Abstract: The breakdown of the Soviet Union has transformed the Russian Far East into an economic, national, and geopolitical borderland. Commodity flows and labor migration, especially from China, have created both economic challenges and opportunities for the local population. The article investigates the intricate relationships between commodities, migration, and the body in the borderland between the Russian Far East (Primorskii Krai) and northeastern China (Heilongjiang Province). Small- scale trade and smuggling in the Russian-Chinese borderland represent an important source of income for the local population.
    [Show full text]
  • From Screen to Page: Japanese Film As a Historical Document, 1931-1959
    FROM SCREEN TO PAGE: JAPANESE FILM AS A HISTORICAL DOCUMENT, 1931-1959 by Olivia Umphrey A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History Boise State University May 2009 © 2009 Olivia Umphrey ALL RIGHTS RESERVED BOISE STATE UNIVERSITY GRADUATE COLLEGE DEFENSE COMMITTEE AND FINAL READING APPROVALS of the thesis submitted by Olivia Anne Umphrey Thesis Title: From Screen to Page: Japanese Film as a Historical Document, 1931- 1959 Date of Final Oral Examination: 03 April 2009 The following individuals read and discussed the thesis submitted by student Stephanie Stacey Starr, and they also evaluated her presentation and response to questions during the final oral examination. They found that the student passed the final oral examination, and that the thesis was satisfactory for a master’s degree and ready for any final modifications that they explicitly required. L. Shelton Woods, Ph.D. Chair, Supervisory Committee Lisa M. Brady, Ph.D. Member, Supervisory Committee Nicanor Dominguez, Ph.D. Member, Supervisory Committee The final reading approval of the thesis was granted by L. Shelton Woods, Ph.D., Chair of the Supervisory Committee. The thesis was approved for the Graduate College by John R. Pelton, Ph.D., Dean of the Graduate College. ACKNOWLEDGMENTS The author wishes to thank her advisor, Dr. Shelton Woods, for his guidance and patience, as well as her committee members, Dr. Lisa Brady and Dr. Nicanor Dominguez, for their insights and assistance. iv ABSTRACT This thesis explores to what degree Japanese film accurately reflects the scholarly accounts of Japanese culture and history.
    [Show full text]
  • The Myth of Nothing in Classics and Asian Indigenous Films
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 2 Article 13 The Myth of Nothing in Classics and Asian Indigenous Films Sheng-mei Ma Michigan State University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ma, Sheng-mei.
    [Show full text]
  • Note Dersu Uzala, Colonialism and Romance: Some
    NOTE DERSU UZALA, COLONIALISM AND ROMANCE: SOME ANTI-IROPOLOGICAL REFLECTIONS ON A KUROSA\WA’S FILM * Iussi Raumolin Centre international de recherches sur l’environnement et le développement, Paris. << The Goldi’s are praised for being good-natured, sincere people who work hard. They worship wooden gods. Shaman witches are their priests, but they also believe that all objects have their own spirit. During the summer the Goldi people fish and during the winter they hunt sable, bear and other animals for pelts... Like many other Siberian peoples, the Goldis are dying out. Scarcely 2,000 individuals survive ».' Movie houses in Helsinki were packed for a year during show- ings of Dersu Uzala, a Soviet-Japanese film set in Siberia. The well- known Japanese director Akira Kurosawa made the film, which is based on the travel diaries of Vladimir K. Arsen’ev, a Russian oflicer-geographerethnographer. The untamed portrait of an exotic, noble savage, brought to life by the cinema technique, stimulated the romantic yearnings of the civilized city dweller. Critics have had nothing but praise for the production. It has received numerous awards, and the -producers are satisfied because their product is in demand. Nevertheless, I believe that something is amiss in the film. For some time I have been interested in Arctic research, and I happened to see the film just as I was in the process of drafting the outline for an article using the ecological approach to the study of religion. Thus the subject matter of the film was rather familiar to me. Moreover I was acquainted with the name of Arsen’ev through studies of colonization.
    [Show full text]
  • Confucian Philosophy in the Films of Akira Kurosawa Through the Documentary Film Medium
    Wu, Li-Hsueh Truth and Beauty: Confucian Philosophy in the Films of Akira Kurosawa Through the Documentary Film Medium Doctor of Design 2008 Swinburne Abstract This doctoral research consists of two 90 minute DVD documentaries and a complementary text about the Japanese film director, Akira Kurosawa, a major figure in 20th century cinema. It focuses on how the Confucian cultural heritage has informed many aspects of his approach to filmmaking, especially his manifestation of philosophical and aesthetic concepts. To bridge the gap in the existing critiques of Kurosawa’s films, the research incorporates critical analysis of interviews with twelve filmmakers and scholars in philosophy, history, arts, drama and film. The interviews discuss the aesthetic elements from traditional arts and theatre, and address a failure in the literature to draw from the deep meaning of the Confucian cultural heritage. The first documentary, An Exploration of Truth in the Films of Akira Kurosawa, has three sections: The Way of Self- Cultivation, The Way of Cultivating Tao and The Way of Cultivating Buddhism. It explores how the films of Kurosawa manifested the Confucian philosophy via inner self-cultivation, which displayed his humanist values. It also examines the ‘outer enlightenment pattern’ in Kurosawa’s films which effects profound dramatic tension. The interrelationship between Confucianism, Shinto and Buddhism in different periods of Kurosawa’s films is explored, focusing on issues of historical background, cultural heritage and philosophy and film narrative elements. The second documentary, The Origin and Renovation of Traditional Arts and I Theatre in the Films of Akira Kurosawa, has three sections: Structure and Mise-En-Scene from Noh and Kabuki, Representation and Symbolism from Noh Masks and Chinese Painting and Color and Mise-En-Scene from The ‘Five Elements’ Theory and Japanese Prints.
    [Show full text]
  • Lost and Found Children in the Arctic Wilderness Moving On, Moving Forward
    Lost and Found Children in the Arctic Wilderness Moving On, Moving Forward NATALYA KHOKHOLOVA Abstract: The article does not investigate the reason behind the re- curring cases of missing children and young adults in the Republic of Sakha (Yakutia) and does not offer an explanation for this phe- nomenon. Instead, it interprets this occurrence as a symptom of the oppressive histories and realities for indigenous groups residing on the territory of this part of the Russian Federation. Although the reasons for children going missing might seem obvious—the vast uninhabited territory of the region and poor infrastructure—the ar- ticle argues that these cases of missing children are the result and evidence of neglect on behalf of parents and the state. The contribu- tive value of this article is to voice the current precarious situation in the Republic of Sakha (Yakutia) under the “brotherhood” of the New Russians’ oligarchy and the way that communal cultural practices of the indigenous peoples of Yakutia resist this form of oppressive practice and the possibility of going missing, or extinct. Keywords: indigenous peoples, Karina Chikitova, Kerecheene Tuprina, lost and found narratives, Republic of Sakha (Yakutia), resistance t is customary in remote parts of Russia, like the Republic of Sakha (Yakutia), to hear of people being reported lost and missing, as the Iregion is a vast and scarcely populated territory with poorly developed infrastructure. During the summer, iagodniki (berry pickers) sometimes disappear in the depth of forests after encountering bears or even escaped criminals. In winter months icy roads are often the cause of fatal accidents; car engines often give up in the middle of their routes, exhausted from moving in the freezing temperatures of negative 60 degrees Celsius and colder.
    [Show full text]
  • Dersu Uzala 1975 Friday, April 25 - Thursday, May 1, 2008
    Great Directors: Akira Kurosawa Dersu Uzala 1975 Friday, April 25 - Thursday, May 1, 2008 Film Information Directed by Akira Kurosawa Language Russian with English subtitles Running Time 141 minutes Film Notes of 1970’s DODESUKADEN. Fortunately, Kurosawa had a Like several of Akira Kurosawa’s other films, relatively quick recovery and DERSU UZALA is an adaptation of sorts. turnaround. Not only did DERSU Whereas Shakespeare and Dostoevsky (among UZALA make for an award- others) served as the inspiration for earlier movies, winning return to the medium the memoirs of a Russian explorer formed the he had given so much to, but basis for what is otherwise a Kurosawa anomaly. it also served as a synthesis of DERSU UZALA is, for example, the only one of what Alexander Payne recently the director’s films made outside of Japan (the described as the quintessential Soviet Union), and the only one of them not in Kurosawa aesthetic: “His Japanese (Russian). It is also the only Akira movies combine great visual Kurosawa film to have won an Academy Award, storytelling with a humanist, taking the 1975 trophy for Best Foreign Language deeply compassionate view Film. of the world. He believed DERSU UZALA was Kurosawa’s first release artists should look at all of life in five years, which would not have been an with understanding, without abnormal stretch of time between movies for blinking.” the director, were it not for what occurred in that —Casey span. In 1971, Kurosawa attempted to commit suicide, having fallen into a depression caused at least partly by the commercial disappointment More Information Written by “When I start on a film I always have a number of Akira Kurosawa ideas about my project.
    [Show full text]