DOCSLIB.ORG

(Microsoft Powerpoint

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(Microsoft Powerpoint Mayuko Iwasa, Minehiro Kinomoto, Nao Nagasawa, Ryohei Abe, Kazutoshi Yokoyama, Mao Ichimichi Shizuka Midorikawa, Minami Tsukui, Sanae Hitomi, Ayumi Shimozono, Hirotaro Honda Aya Sugimoto and Naoto Takenaka Original Story by: Shotaro Ishinomori, Screenplay: Keiichi Hasegawa, Director, Action director: Koichi Sakamoto Zukun Lab production in collaboration with Toei Television Production, Production partnership: Toei Video, Toei Satellite Broadcasting, Toei AG Marking the 75th anniversary of his birth, Shotaro Ishinomori’s classic spy heroine manga “009-1” has been adapted into a live-action motion picture for the first time ever! STORY : IIInI 20xx, the world is divided into two powers: the Western Block and the Eastern Block. Serving as a border zone between the two is “J-Country.” As such, it is used as a battleground for the two sides in their never-ending conflict. MMMylene,M an undercover agent from the western block, has been hiding out in J- Country. While investigating human trafficking, she meets a young man named Chris. Mylene finds herself attracted to Chris and after completing her mission and returning to headquarters she is unable to keep him out of her mind. “““R“RRRecover Dr. Klein and see to her protection!” is the newest mission assigned to Mylene from the 00 agency. AAAbductedA by the Eastern Block, Dr. Klein was in charge of the Faust Project and the technology that made Mylene into a cyborg. During the briefing for the mission she puzzles over a name that sparks memories buried within her cyborg mind. “““R“RRRecover Dr. Klein and see to her protection!” is the newest mission assigned to Mylene from the 00 agency. AAAbductedA by the Eastern Block, Dr. Klein was in charge of the Faust Project and the technology that made Mylene into a cyborg. During the briefing for the mission she puzzles over a name that sparks memories buried within her cyborg mind. BBBreakingB into the laboratory where the doctor is being held, Mylene is surprised to find Chris being used as an experimental guinea pig. Distracted, she is unable to complete her mission and agents of the east take Dr. Klein away. FFFailingF in her mission, Mylene has her license revoked by the agency. Spurred by the increasing flashes of memories locked away within her, she sets out on a mission of her own: to take back her memories and learn who she really is. STAFF&CAST: Original author: Shotaro Ishinomori (January 25, 1938 - January 28, 1998) Born in Miyagi Prefecture, Japan, Ishinomori was at the forefront of manga creation for forty-five years. He worked in various genres of manga and created a large body of work that still grips the imagination of fans the world over. After his untimely death, his "Kamen Rider" and "Cyborg 009" were remade to high acclaim. Other Ishinomori titles include, Hotel, Inazuman, Android Kikaider, Japan, Inc.: Introduction to Japanese Economics. Leading actress: Mayuko Iwasa (Born February 24, 1987) The Tokyo born Iwase won the “Miss Magazine grand prix” and since then has been active as an actress and TV personality. “009-1 The End of the Beginning” is her first time to appear in an action film. Her filmography includes, Milocrorze (2012), Deep Love (2004). Director: Koichi Sakamoto (Born September 29, 1970) After graduating from high school, Sakamoto moved to the United States. There, he worked on the Power Rangers Series as an action director, director, and producer. Returning to Japan in 2009, he received acclaim for his Hollywood-trained action skills. To date, he is the only person to have directed all three of the major Japanese live-action film franchises: the Kamen Rider Series, the Super Sentai Series, and the Ultraman Series. 2013 / DCP / Color / Japanese / 82min ©2013 “009-1” F.P. ©ISHINOMORI PRODUCTION INC. CONTACT: Japanese Theatrical Release:, 7th Sep 2013 Nikkatsu Corporation 3-28-12 Hongo, Bunkyo-ku, Tokyo 113-0033 TEL: +81 3 5689-1014 / FAX: +81 3 5689-1044 http://www.nikkatsu.com e-mail: [email protected].
Load more

Recommended publications
  • Ultraman Hawaii’
    Sex differences in pacing during `Ultraman Hawaii' Beat Knechtle1,2 and Pantelis T. Nikolaidis3 1 Gesundheitszentrum St. Gallen, St. Gallen, Switzerland 2 Institute of Primary Care, University of Zurich, Zurich, Switzerland 3 Exercise Physiology Laboratory, Nikaia, Greece ABSTRACT Background. To date, little is known for pacing in ultra-endurance athletes competing in a non-stop event and in a multi-stage event, and especially, about pacing in a multi-stage event with different disciplines during the stages. Therefore, the aim of the present study was to examine the effect of age, sex and calendar year on triathlon performance and variation of performance by events (i.e., swimming, cycling 1, cycling 2 and running) in `Ultraman Hawaii' held between 1983 and 2015. Methods. Within each sex, participants were grouped in quartiles (i.e., Q1, Q2, Q3 and Q4) with Q1 being the fastest (i.e., lowest overall time) and Q4 the slowest (i.e., highest overall time). To compare performance among events (i.e., swimming, cycling 1, cycling 2 and running), race time in each event was converted in z score and this value was used for further analysis. Results. A between-within subjects ANOVA showed a large sex × event (p D 0:015, η2 D 0:014) and a medium performance group × event interaction (p D 0:001, η2 D 0:012). No main effect of event on performance was observed (p D 0:174, η2 D 0:007). With regard to the sex × event interaction, three female performance groups (i.e., Q2, Q3 and Q4) increased race time from swimming to cycling 1, whereas only one male performance group (Q4) revealed a similar trend.
    [Show full text]
  • The Skull Man Jumpchain the Year Is 1970 and a Young Man Named Tatsuo Kagura Is About to Begin a Rampage Across Japan Under the Guise of the Skull Man
    The Skull Man Jumpchain The year is 1970 and a young man named Tatsuo Kagura is about to begin a rampage across Japan under the guise of The Skull Man. His parents, a pair of genius scientists dedicated to the “evolution of humanity”, performed many experiments on their young son in order to create the perfect example of Newmanity as part of the plans of the evil organisation The Syndicate. After they were murdered by his grandfather, Tatsuo was rescued by the shapeshifting Kaijin Garo. Will you abide his vicious vigilante vengeance quest? Or will you oppose this dark anti-hero? Or is the year 1988, where a only somewhat different Tatsuo will battle against the evil Rasputin and takes part in a trip into the world of shadows and the evil within all of us. Or perhaps it is even more recent, say 2007? But this is a very different Skull Man. Tatsuo and his father both slain, and the Skull Man suit (the source of the Skull Man's powers in this version of events) if found by a priest named Yoshio Kanzaki to battle the evil cult Byakureikai and it's evil experiments on humanity. This story begins with the death of Yoshio and the mantle of Skull Man taken over by Hayato Mikogami who may in fact be Tatsuo himself under a new identity. Regardless of when you arrive in Japan (your pick Jumper), you receive 1000 choice points and must choose your place in this world: Origins Drop-in Free You awaken in a dark alley in the city of Tokyo, your memories and body untouched from your last jump.
    [Show full text]
  • Masked Rider: the First
    Presented by Japan Information & Culture Center, Embassy of Japan and The DC Anime Club Masked Rider: The First © 2005 ISHIMORI PRO•TOEI COMPANY, LTD All Rights Reserved. DVD package and design by Tokyo Shock 2007 Thursday April 24 6:30 PM The evil terrorist organization SHOCKER is kidnapping unwilling citizens and turning them into cyborg inhumanoids used to carry out SHOCKER’s nefarious schemes. The only man who can stand in their way is one of SHOCKER’s own inhumanoid agents who cannot forget his humanity- KAMEN RIDER! Kamen Rider: The First is a 2005 film based on the popular comic book and TV series Kamen Rider of the 1970’s. The show and comic still enjoy a large fanbase and legendary status in Japan. With his trademark bug-eyed helmet and black motorcycle, Kamen Rider, rides around Japan acrobatically battling with a colorful cast of villains from the SHOCKER organization. Kamen Rider helped to establish the famous genre of Japanese television and movies known as Tokusatsu. Tokusatsu shows are known for their use of special effects, gigantic monsters, imaginative costumes, and high-flying, fast-paced martial arts fight scenes. Other icons of tokusatsu lore include Ultraman, Godzilla and The Mighty Morphing Power Rangers. Don’t miss this chance to see one of the legends of the genre on the big screen! In Japanese with English Subtitles 90 minutes This event is free and open to the public. Reservations are required. RSVP to [email protected] Seating is limited and granted on a first come, first served basis Japan Information and Culture Center, Embassy of Japan・3 Lafayette Center・1155 21Pst P St NW・ Washington DC 20036・202-238-6949・www.us.emb-japan.go.jp/jicc .
    [Show full text]
  • Universitas Indonesia 1 BAB I PENDAHULUAN 1.1 Latar
    1 BAB I PENDAHULUAN 1.1 Latar Belakang Masalah Budaya populer yang berasal dari Jepang merupakan salah satu bentuk budaya asing yang masuk dan diterima oleh masyarakat Indonesia. Bentuk media visual tersebut beragam dari anime (animasi Jepang), tokusatsu, film Jepang, dorama (sinema elektronik Jepang), JAV (Japanese Adult Video), permainan video (yang mayoritas berasal dari Jepang), dan lain-lain. Budaya populer yang berasal dari Jepang tersebut merupakan budaya yang diproduksi dan dikonsumsi secara luas terutama untuk kalangan generasi muda dengan segmentasi usia di bawah 30 tahun. Budaya populer tersebut berkembang dan menjadi pengaruh budaya di dunia dan berkontribusi terhadap perekonomian Jepang1. Berkembangnya budaya populer Jepang secara lebih luas di Indonesia tidak lepas dari peranan masuknya serial animasi (anime) dan komik (manga) Doraemon pada awal 1990-an2. Sebelum Doraemon, masyarakat Indonesia menikmati berbagai anime dan tokusatsu melalui rental video Betamax yang populer di era 1980-an. Penayangan Doraemon di salah satu televisi swasta tersebut pada hari Minggu pagi pukul 08:00 WIB3 mendorong masuknya berbagai produk (franchise) budaya populer lainnya (seperti Candy Candy, Sailor Moon, dan Dragon Ball Z) di Indonesia. Salah satu budaya populer Jepang yang masuk ke Indonesia tersebut adalah tokusatsu yang terdiri dari berbagai genre dan dirilis dalam bentuk serial atau film. 1 Budaya populer di Jepang telah menjadi industri besar yang mendukung perekonomian Jepang. Lihat Timothy J. Craig. Japan Pop! Inside the World of Japanese Popular Culture. New York: M.E. Sharpe, Inc, 2000. hal 4-5. 2 Menurut Saya S. Shiarishi, Doraemon membantu memperkenalkan karya-karya populer lainnya ke Indonesia seperti halnya yang terjadi di Jepang. Artikel terkait bisa dilihat di Saya S.
    [Show full text]
  • A Unified Platform for Big Trajectory Data Management and Analytics
    UlTraMan: A Unified Platform for Big Trajectory Data Management and Analytics Xin Ding∗;y Lu Chenz Yunjun Gao∗;y Christian S. Jensenz Hujun Bao∗;y ∗State Key Laboratory of CAD&CG, Zhejiang University, Hangzhou, China yCollege of Computer Science, Zhejiang University, Hangzhou, China zDepartment of Computer Science, Aalborg University, Aalborg, Denmark fdingxin@, gaoyj@, [email protected] fluchen, [email protected] ABSTRACT also in real-world applications. As an example, DiDi, the Massive trajectory data is being generated by GPS-equipped largest ride-sharing company in China, utilizes trajectory devices, such as cars and mobile phones, which is used in- data to provide services such as travel time prediction, de- creasingly in transportation, location-based services, and mand forecasting, and carpool scheduling [6]. The explosive urban computing. As a result, a variety of methods have increase in data volumes and the rapid proliferation of new been proposed for trajectory data management and ana- data analysis methods expose three shortcomings of tradi- lytics. However, traditional systems and methods are usu- tional trajectory data management platforms. ally designed for very specific data management or analyt- First, in real-life applications, trajectory data is collected ics needs, which forces users to stitch together heteroge- at a rapid pace. For instance, the Daisy Lab at Aalborg neous systems to analyze trajectory data in an inefficient University currently receives some 100 million points per manner. Targeting the overall data pipeline of big trajec- day from about 40,000 vehicles in Denmark. Consequently, tory data management and analytics, we present a unified traditional centralized systems [13, 23, 35] are or will be platform, termed as UlTraMan.
    [Show full text]
  • I. Early Days Through 1960S A. Tezuka I. Series 1. Sunday A
    I. Early days through 1960s a. Tezuka i. Series 1. Sunday a. Dr. Thrill (1959) b. Zero Man (1959) c. Captain Ken (1960-61) d. Shiroi Pilot (1961-62) e. Brave Dan (1962) f. Akuma no Oto (1963) g. The Amazing 3 (1965-66) h. The Vampires (1966-67) i. Dororo (1967-68) 2. Magazine a. W3 / The Amazing 3 (1965) i. Only six chapters ii. Assistants 1. Shotaro Ishinomori a. Sunday i. Tonkatsu-chan (1959) ii. Dynamic 3 (1959) iii. Kakedaze Dash (1960) iv. Sabu to Ichi Torimono Hikae (1966-68 / 68-72) v. Blue Zone (1968) vi. Yami no Kaze (1969) b. Magazine i. Cyborg 009 (1966, Shotaro Ishinomori) 1. 2nd series 2. Fujiko Fujio a. Penname of duo i. Hiroshi Fujimoto (Fujiko F. Fujio) ii. Moto Abiko (Fujiko Fujio A) b. Series i. Fujiko F. Fujio 1. Paaman (1967) 2. 21-emon (1968-69) 3. Ume-boshi no Denka (1969) ii. Fujiko Fujio A 1. Ninja Hattori-kun (1964-68) iii. Duo 1. Obake no Q-taro (1964-66) 3. Fujio Akatsuka a. Osomatsu-kun (1962-69) [Sunday] b. Mou Retsu Atarou (1967-70) [Sunday] c. Tensai Bakabon (1969-70) [Magazine] d. Akatsuka Gag Shotaiseki (1969-70) [Jump] b. Magazine i. Tetsuya Chiba 1. Chikai no Makyu (1961-62, Kazuya Fukumoto [story] / Chiba [art]) 2. Ashita no Joe (1968-72, Ikki Kajiwara [story] / Chiba [art]) ii. Former rental magazine artists 1. Sanpei Shirato, best known for Legend of Kamui 2. Takao Saito, best known for Golgo 13 3. Shigeru Mizuki a. GeGeGe no Kitaro (1959) c. Other notable mangaka i.
    [Show full text]
  • Japanese Animation Guide: the History of Robot Anime
    Commissioned by Japan's Agency for Cultural Affairs Manga, Animation, Games, and Media Art Information Bureau Japanese Animation Guide: The History of Robot Anime Compiled by Mori Building Co., Ltd. 2013 Commissioned by Japan's Agency for Cultural Affairs Manga, Animation, Games, and Media Art Information Bureau Japanese Animation Guide: The History of Robot Anime Compiled by Mori Building Co., Ltd. 2013 Addition to the Release of this Report This report on robot anime was prepared based on information available through 2012, and at that time, with the exception of a handful of long-running series (Gundam, Macross, Evangelion, etc.) and some kiddie fare, no original new robot anime shows debuted at all. But as of today that situation has changed, and so I feel the need to add two points to this document. At the start of the anime season in April of 2013, three all-new robot anime series debuted. These were Production I.G.'s “Gargantia on the Verdurous Planet," Sunrise's “Valvrave the Liberator," and Dogakobo and Orange's “Majestic Prince of the Galactic Fleet." Each was broadcast in a late-night timeslot and succeeded in building fanbases. The second new development is the debut of the director Guillermo Del Toro's film “Pacific Rim," which was released in Japan on August 9, 2013. The plot involves humanity using giant robots controlled by human pilots to defend Earth’s cities from gigantic “kaiju.” At the end of the credits, the director dedicates the film to the memory of “monster masters” Ishiro Honda (who oversaw many of the “Godzilla” films) and Ray Harryhausen (who pioneered stop-motion animation techniques.) The film clearly took a great deal of inspiration from Japanese robot anime shows.
    [Show full text]
  • 1 BAB I PENDAHULUAN 1.1 Latar Belakang Penelitian Menurut
    BAB I PENDAHULUAN 1.1 Latar Belakang Penelitian Menurut Stewart L Tubbs “Budaya adalah suatu cara hidup yang berkembang dan dimiliki bersama oleh sebuah kelompok orang dan diwariskan dari generasi ke generasi. Budaya terbentuk dari banyak unsur yang rumit, termasuk sistem agama dan politik, adat istiadat, bahasa, perkakas, pakaian, bangunan, dan karya seni.” (1996:84) Dari pernyataan Stewart dapat disimpulkan bahwa budaya tidak lagi terkait dengan hal-hal yang berada di pedesaan yang berbau tradisional. Saat ini fenomena budaya sudah mulai bergerak ke wilayah urban, dan salah satu bentuk dari kebudayaan urban adalah film. Film sendiri bisa dikatakan sebuah budaya karena industri film telah ada sejak tahun 1927 dan bertahan diwarsikan hingga saat ini. Film juga mengandung unsur-unsur rumit yang telah dijabarkan oleh Stewart. Lebih lanjut, Sumarno menyatakan bahwa “film adalah bagian dari kehidupan modern dan tersedia dalam berbagai wujud. Film bukan saja menyajikan pengalaman yang mengasyikan melainkan juga pengalaman hidup sehari-hari yang dikemas secara menarik dan dengan memasukan beragam budaya ke dalam film tersebut” (1996: 22). Salah satu genre dari film yang paling sering dijumpai adalah serial drama. Serial drama adalah program yang hampir selalu ada dalam media televisi di berbagai negara di belahan dunia. Serial drama di berbagai negara di berbagai belahan dunia inipun memiliki ciri khas masing-masing yang tidak dimiliki oleh serial drama di negara lain. Diantaranya adalah drama Korea yang memiliki alur drama percintaan yang sulit ditebak, Kawasan Amerika Latin yang menonjolkan karakter wanita yang sangat kuat seperti Betty La Fea dan Esmeralda, India dengan drama Bollywood yang menjadikan tarian dan nyanyian sebagai ciri khas nya, Indonesia dengan sinetron yang memili alur yang berputar-putar dan ringan serta, serta Jepang dengan tokusatsu yang mengguanakan teknik-teknik tertentu 1 dalam vidiografinya dan masih banyak lagi yang tidak bisa penulis sebutkan satu persatu.
    [Show full text]
  • Lijst 556 Euro-DCD
    € DCD CODES!!!! LIJST: FAX/MODEM/E-MAIL: 25 jul 2021 PREVIEWS DISK: 27 jul 2021 [email protected] voor Nieuws, Aanbiedingen en Nabestellingen KIJK OP WWW.PEPCOMICS.NL PEP COMICS SLUITINGSDATUM: DCD WETH. DEN OUDESTRAAT 10 FAX: 25 juli 5706 ST HELMOND ONLINE: 25 juli TEL +31 (0)492-472760 UITLEVERING: (€) FAX +31 (0)492-472761 september/oktober #556 ********************************** DCD0060 [M] Image Firsts Monstress #1 2.57 b *** DIAMOND COMIC DISTR. ******* DCD0061 [M] Saga TPB Vol.01 12.89 b ********************************** DCD0062 [M] Saga TPB Vol.02 19.34 b DCD0063 [M] Saga TPB Vol.03 19.34 b DCD SALES TOOLS page 026 DCD0064 [M] Saga TPB Vol.04 19.34 b DCD0001 Previews September 2021 #396 5.45 i DCD0065 [M] Saga TPB Vol.05 19.34 b DCD0002 Marvel Previews S EXTRA Vol.05 #15 1.58 b DCD0066 [M] Saga TPB Vol.06 19.34 b DCD0003 Previews September 2021 Custo #396 0.86 i DCD0067 [M] Saga TPB Vol.07 19.34 b DCD0004 Previews Sept 2021 Cust EXTRA #396 1.72 i DCD0068 [M] Saga TPB Vol.08 19.34 b DCD0006 Previews Sep 2021 Retai EXTRA #396 2.62 b DCD0069 [M] Saga TPB Vol.09 19.34 b DCD0007 Game Trade Magazine #259 0.00 E DCD0070 [M] Mom Mother Of Madness (3) #3 6.44 b DCD0008 Game Trade Magazine EXTRA #259 0.58 E DCD0071 Blackbird TPB Vol.01 21.92 b IMAGE COMICS page 042 DCD0072 Skyward My Low G Life TPB Vol.01 12.89 b DCD0009 [M] Primordial A Sorrentino (6) #1 5.15 b DCD0073 Skyward Here There Be D TPB Vol.02 21.92 b DCD0010 [M] Primordial B Ward (6) #1 5.15 b DCD0074 Skyward Fix The World TPB Vol.03 21.92 b DCD0011 [M] Primordial C Nguyen
    [Show full text]
  • About MONSTREHERO
    custoMONDAY: Win a Custom Victim By MONSTREHERO Mon, Dec 8, 2008 About MONSTREHERO MONSTREHERO is Sean Blay and Cliff Kirschner, two guys who live in Orlando and like to make toys. They draw influence from superheroes, Japanese monsters, comics, old school action figures and the environment around them. Perusing MONSTREHERO’s Flickr , you’ll immediately notice that the duo is not afraid of color or texture. One of their signature original figures, The Victim, ranges from a sweet soda shoppe Shirley Temple colorway to the Skittle-vomit Mardi Barf variant. And Codename P.A.N.T.s exists in a seemingly infinite spectrum of finishes. I’m really blown away by the level of success they are able to achieve with their constant experimentation on figures like The Victim, Axeface, Skullmaster and P.A.N.T.s. I’m not typically the hugest kaiju fan; sometimes I look at a figure and think, who threw up on that toy? With MONSTREHERO, I eagerly await their latest images and really see the beauty in the medium. Sean and Cliff recently went on a bender and made a ton of new figures for last week’s Kaiju Monster Invasion. Any work that didn’t sell at the event will make its way to their MONSTRESHOP , where you can find custom toys. To keep tabs on what MONSTREHERO is up to, sign up for their newsletter by dropping a note to info [at] monstrehero [dot] [com]. They’ve got lots of new releases and some hush-hush store-exclusives on the horizon, not to mention some tutorials they’ll be contributing to ToyCyte in 2009.
    [Show full text]
  • Quarterly Earnings Supplementary Explanatory Materials for the Nine Month Ended December 31, 2016
    February 2, 2017 FIELDS CORPORATION Quarterly Earnings Supplementary Explanatory Materials for the Nine Month Ended December 31, 2016 1. Main initiatives in IP [Ultraman Series] The Ultraman Series marks its 50th anniversary in 2016. To mark the milestone for the series that features a hero loved by three generations in Japan, cross-media action will be organized in collaboration with business partners in Japan and overseas. ■Domestic Jul. 2016 Vol. 8 of “ULTRAMAN,” the HERO’s comic book published (Comics) Dec. 2016 Vol. 9 of “ULTRAMAN,” the HERO’s comic book published (Comics) ‐Cumulative total of 2.4 million copies sold Jul. 2016 TV series “Ultraman Orb” started (Visuals) ‐Saturday at 9:00 am, on affiliated to TV Tokyo © 円谷プロ Dec. 2016 “ULTRAMAN ORB THE ORIGIN SAGA” distribution started (Visuals) ‐Amazon Prime Vide original Jul. 2016 “Ultraman Festival 2016” held (Live action event) Dec. 2016 “ULTRA HEROES EXPO 2017 ” held (Live action event) Sep. 2016 “ULTRA HEROES THE LIVE ACROBATTLE CHRONICLE” (Live action event) Osaka event Dec. 2016 “ULTRA HEROES THE LIVE ACROBATTLE CHRONICLE” (Live action event) Nagoya event Jan. 2017 “ULTRA HEROES THE LIVE ACROBATTLE CHRONICLE” (Live action event) Tokyo event Jun. 2016 “A MAN of ULTRA” participants: 65 companies (Licensing) ‐Japan Brand Licensing Grand Prix winner of “Licensing of the Year at the Character and Brand of the Year” Jul. 2016 “Ultraman×MONSTER STRIKE by mixi Inc.” collaboration organized (Licensing) Jun. 2016 “Pachislot ALIEN BALTAN” launched (PS) < Future plans > Mar. 2017 “Ultraman Orb” the movie scheduled to release (Visuals) ■Overseas Jul. 2016 “Ultraman Orb” series distribution started (Visuals) ‐Global (excluding Asia): Crunchyroll ‐China: iQIYI, LeTV, Tencent and Youku, Sohu Nov.
    [Show full text]
  • (Revised0507)JAPAN BOOTH 2013 Cannes FIX
    CONTENTS INTRODUCTION Contents Introduction 1 Introduction Japan Booth is organized by JETRO/UNIJAPAN with the support from Agency for Cultural Affairs (Government of Japan). 2 Geneon Universal Entertainment Japan, LLC 3 Gold View Co., Ltd. 4 Happening Star Project JETRO, or the Japan External Trade Organization, is UNIJAPAN is a non-profit organization established 5 MODE FILMS INC. a government-related organization that works to pro- in 1957 by the Japanese film industry under the mote mutual trade and investment between Japan and auspice of the Government of Japan for the purpose 6 Nikkatsu Co. the rest of the world. of promoting Japanese cinema abroad. Initially named 7 Office Walker Inc. Originally established in 1958 to promote Japanese ex- ‘Association for the Diffusion of Japanese Film Abroad’ 8 Omgact Entertainment LLC ports abroad, JETRO’s core focus in the 21st century (UniJapan Film), in 2005 it joined hands with the has shifted toward promoting foreign direct investment organizer of Tokyo International Film Festival (TIFF), to 9 Open Sesame Co., Ltd. into Japan and helping small to medium-sized Japa- form a combined, new organization. 10 Production I.G nese firms maximize their global business potential. 11 SDP Inc. 12 Sedic International Inc. 13 Showgate Inc. 14 Tsuburaya Productions Co., Ltd. Category Action Drama Comedy Horror / Suspense Documentary Animation Screening schedule Day Starting Time Length of the Film Title Place 1 Geneon Universal Entertainment Japan, LLC Gold View Co., Ltd. The Chasing World: The Origin Belladonna Of Sadness AD 3000. 1 in 20 has the family name "SATO" in Japan. The A story about a young and beautiful woman, who has lived a life 150th king implements a horrific policy to reduce the number of of hardships.
    [Show full text]