DOCSLIB.ORG

ENG 513: Existentialism in Literature and Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ENG 513: Existentialism in Literature and Film Course Title Existentialism in Literature and Film Course Code ENG 513 Course Type Elective Literature Level Undergraduate Year / Semester 3rd and 4th year Teacher’s Name Evi Haggipavlu ECTS 7.5 Lectures / week 2 Laboratories / week N/A The purpose of this course is to examine the significance of Existentialism for the Humanities Course Purpose and by focusing on Existentialism’s peculiar nature as fundamentally interdisciplinary. Objectives Existentialism is to be thought of not only as a perspective that is critical of metaphysical thinking (a reaction), but more importantly as a bridge that profoundly connects the various disciplines in question, namely Cinema, Philosophy, Literature and the Arts (an action). Existentialism’s refusal to belong, or be attached to a single discipline posits it as a challenge to disciplinary thinking, its experts and inevitably the very compartmentalization of being that preceded and made such demarcations possible. In thinking of Existentialism as (a) an attitude, to use William V. Spanos’ term, that surpasses disciplinary limits; and (b) a sensibility or a specific comportment towards being, the world and others, that allows for a committed, passionate, interested and ultimately thoughtful engagement with the world in which we live, our aim will be to carefully explore the main themes, trends and tenets of Existentialism found in the works of some of the most important “underground” thinkers, artists, writers and filmmakers and their) temporal, un-homing, yet eerily human worlds. Learning Outcomes ñ Explore the full spectrum of the Existentialist attitude, its varied manifestations and main tenets, themes and trends. ñ Critically engage with the works of some of the most important representatives of the Existentialist tradition in Literature, Cinema and Philosophy. ñ Assess Existentialism’s political significance and potential. ñ Evaluate Existentialism’s relevance to questions of Race and Gender. Prerequisites N/A Required N/A Course Content Introduction: The Existentialist Attitude ñ Existence/Essence ñ Existentialism and the Search for Meaning Kierkegaard Nietzsche and the truth about Truth Ontology/Freedom Feminism and Existentialism History/Time ñ Angelus Novus ñ Tarkovsky on Time Black Existentialism Final Thoughts in Images Teaching Methodology Focus will be placed on Existentialism’s interdisciplinary nature as the basis for a critical engagement with the assigned readings and films. An extensive filmography will be handed to the students at the beginning of the semester with assigned films for each week. Class meetings are interactive, comprised of lectures with discussion in a seminar style and are arranged thematically. Lectures will bring together a combination of sources from Literature, Cinema and Philosophy addressing the topic of the week. Bibliogrpahy: Bibliography Bachmann, Ingeborg. The Thirtieth Year. Translated by Michael Bullock. New York: Holmes and Meier, 1987. Barsoum Raymond, Diane. Existentialism and the Philosophical Tradition. New Jersey: Prentice-Hall, 1991 Ellison Ralph. Invisible Man. New York: Vintage Books, 1995. Gordon, Lewis R. Existentia Africana: Understanding Africana Existential Thought. New York: Routledge, 2000 Kierkegaard, Soren. The Present Age. Translated by Alexander Dru. New York: Harper Torchbooks, 1962. Spanos, William V. A Casebook on Existentialism. New York: Thomas Y. Crowell Company, 1966. Tarkovsky, Andrey. Sculpting in Time: Reflections on the Cinema. Translated by Kitty Hunter Blair. Austin: University of Texas Press, 1986. Filmography: Akira Kurosawa. Hakuchi (Japan, 1951). Akira Kurosawa. Ikiru (Japan, 1952). Andrei Tarkovsky. Stalker (Soviet Union, 1979). Jacques Tati. Play Time (France, 1967). Federico Fellini. La Dolce Vita (Italy, 1960). Chris Marker’s La Jetee (France, 1962) Andrei Tarkovsky. Solaris (Soviet Union, 1972) Luchino Visconti. The Stranger (Italy, 1967) Hiroshi Teshigahara. Woman in the Dunes (Japan, 1964). Chantal Akerman. Jeanne Dielman, 23 Quai du Commerce 1080 Bruxelles (Belgium, 1975) Christian Petzold. Phoenix (Germany, 2014). Alain Resnais, Hiroshima mon Amour (France, 1959) Ingmar Bergman. Shame (Sweden, 1968). Grigoriy Chukhray. Ballad of a Soldier (Soviet Union, 1959) Andrei Tarkovky. Ivan’s Childhood (Russia, 1965) Andrey Tarkovsky. The Mirror (Soviet Union, 1975). Federico Fellini. The Nights of Cabiria (Italy, 1957) Alain Resnais. Last Year at Marienbad (France, 1961) Michelangelo Antonioni. La Notte (Italy, 1961) Luis Bunuel. The Exterminating Angel (Mexico, 1962) Francois Truffaut. Jules and Jim (France, 1962) Federico Fellini, 8 ½ (Italy, 1963) Bergman, Ingmar. Persona (Sweden, 1966). Andrey Tarkovsky. Nostalgia (Italy, 1983) Andrey Tarkovsky. The Sacrifice (Sweden, 1986) Assessment Presentations, Reflection Papers (take-home), Final paper (take-home) Language English .
Load more

Recommended publications
  • Download the Monthly Film & Event Calendar
    THU SAT WED 1:30 Film 1 10 21 3:10 to Yuma. T2 Events & Programs Film & Event Calendar 1:30 Film 10:20 Family Film FRI Gallery Sessions The Armory Party 2018 Beloved Enemy. T2 Tours for Fours. Irresistible Forces, Daily, 11:30 a.m. & 1:30 p.m. Wed, Mar 7, 9:00 p.m.–12:30 a.m. Education & Immovable 30 5:30 Film Museum galleries VIP Access at 8:00 p.m. Research Building Objects: The Films Film Janitzio. T2 of Amir Naderi. New Directors/ Join us for conversations and Celebrate the opening of The 10:20 Family 7:00 Film See moma.org/film New Films 2018. activities that offer insightful and Armory Show and Armory Arts A Closer Look for El Mar La Mar. T1 4:30 Film 1:30 Film 6:05 Event for details. See newdirectors.org unusual ways to engage with art. Week with The Armory Party SUN WED Kids. Education & FRI SAT MON Pueblerina. T2 Music by Luciano VW Sunday Sessions: for details. at MoMA—a benefit event with 7:30 Film Research Building 1:30 Film Limited to 25 participants 4 7 16 Berio and Bruno Hair Wars. MoMA PS1 24 26 live music and DJs, featuring María Calendaria. T2 7:30 Film Kings Go Forth. T2 10:20 Family 7:30 Event 2:00 Film Film Maderna. T1 Film Film platinum-selling artist BØRNS. Flor silvestre. T1 6:30 Film Art Lab: Nature Tours for Fours. Quiet Mornings. Victims of Sin. T2 Irresistible Forces, 4:30 Film Irresistible Forces, Irresistible Forces, 6:30 Film Music by Pink Floyd, Daily.
    [Show full text]
  • Bamcinématek Presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 Tales of Rampaging Beasts and Supernatural Terror
    BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 tales of rampaging beasts and supernatural terror September 21, 2018/Brooklyn, NY—From Friday, October 26 through Thursday, November 1 BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, a series of 10 films showcasing two strands of Japanese horror films that developed after World War II: kaiju monster movies and beautifully stylized ghost stories from Japanese folklore. The series includes three classic kaiju films by director Ishirô Honda, beginning with the granddaddy of all nuclear warfare anxiety films, the original Godzilla (1954—Oct 26). The kaiju creature features continue with Mothra (1961—Oct 27), a psychedelic tale of a gigantic prehistoric and long dormant moth larvae that is inadvertently awakened by island explorers seeking to exploit the irradiated island’s resources and native population. Destroy All Monsters (1968—Nov 1) is the all-star edition of kaiju films, bringing together Godzilla, Rodan, Mothra, and King Ghidorah, as the giants stomp across the globe ending with an epic battle at Mt. Fuji. Also featured in Ghosts and Monsters is Hajime Satô’s Goke, Body Snatcher from Hell (1968—Oct 27), an apocalyptic blend of sci-fi grotesquerie and Vietnam-era social commentary in which one disaster after another befalls the film’s characters. First, they survive a plane crash only to then be attacked by blob-like alien creatures that leave the survivors thirsty for blood. In Nobuo Nakagawa’s Jigoku (1960—Oct 28) a man is sent to the bowels of hell after fleeing the scene of a hit-and-run that kills a yakuza.
    [Show full text]
  • The Choice of Topics in Male, Female and Mixed-Sex Groups of Students
    DOI: 10.9744/kata.19.2.63-70 ISSN 1411-2639 (Print), ISSN 2302-6294 (Online) OPEN ACCESS http://kata.petra.ac.id Transposition of the Scientific Elements in Hiroshi Teshigahara’s Adaptation of Kobo Abe’s the Face of Another Anton Sutandio Maranatha Christian University, INDONESIA e-mails: [email protected] ABSTRACT This article focuses on Hiroshi Teshigahara‟s film adaptation of the famous Kobo Abe‟s The Face of Another with special attention on the transposition of the scientific elements of the novel in the film. This article observes how Teshigahara, through cinematic techniques, transposes Abe‟s scientific language into visual forms. Abe himself involved in the film adaptation by writing the screenplay, in which he prioritized the literary aspects over the filmic aspect. This makes the adaptation become more interesting because Teshigahara is known as a stylish filmmaker. Another noteworthy aspect is the internal dialogues domination within the novel narration. It is written in an epistolary-like narration, placing the protagonist as a single narrator which consequently raises subjectivity. The way Teshigahara externalizes the stream-of-consciousness narration-like into the medium of film is another significant topic of this essay. Keywords: Transposition, scientific element, adaptation, The Face of Another. INTRODUCTION alienation and isolation. It tells a story about a man named Okuyama, a scientist, whose face is deformed This research aims to investigate the way Hiroshi due to a freak laboratory incident. He experiences Teshigahara transposes the novel of Kobo Abe, The stress and trauma and decides to consult a doctor Face of Another, into a film with special attention on named K and discuss the possibility of creating a the transposition of the scientific elements of the mask, or a face for him.
    [Show full text]
  • Transposition of the Scientific Elements in Hiroshi Teshigahara's
    DOI: 10.9744/kata.19.2.63-70 ISSN 1411-2639 (Print), ISSN 2302-6294 (Online) OPEN ACCESS http://kata.petra.ac.id Transposition of the Scientific Elements in Hiroshi Teshigahara’s Adaptation of Kobo Abe’s the Face of Another Anton Sutandio Maranatha Christian University, INDONESIA e-mails: [email protected] ABSTRACT This article focuses on Hiroshi Teshigahara‟s film adaptation of the famous Kobo Abe‟s The Face of Another with special attention on the transposition of the scientific elements of the novel in the film. This article observes how Teshigahara, through cinematic techniques, transposes Abe‟s scientific language into visual forms. Abe himself involved in the film adaptation by writing the screenplay, in which he prioritized the literary aspects over the filmic aspect. This makes the adaptation become more interesting because Teshigahara is known as a stylish filmmaker. Another noteworthy aspect is the internal dialogues domination within the novel narration. It is written in an epistolary-like narration, placing the protagonist as a single narrator which consequently raises subjectivity. The way Teshigahara externalizes the stream-of-consciousness narration-like into the medium of film is another significant topic of this essay. Keywords: Transposition, scientific element, adaptation, The Face of Another. INTRODUCTION alienation and isolation. It tells a story about a man named Okuyama, a scientist, whose face is deformed This research aims to investigate the way Hiroshi due to a freak laboratory incident. He experiences Teshigahara transposes the novel of Kobo Abe, The stress and trauma and decides to consult a doctor Face of Another, into a film with special attention on named K and discuss the possibility of creating a the transposition of the scientific elements of the mask, or a face for him.
    [Show full text]
  • The Politics and Aesthetics of Haunting in 1950S Japan
    The Politics and Aesthetics of Haunting in 1950s Japan by Darcy Gauthier A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Darcy Gauthier, 2020 The Politics and Aesthetics of Haunting Darcy Gauthier Doctor of Philosophy Centre for Comparative Literature University of Toronto 2020 Abstract This thesis examines the politics and aesthetics of haunting in 1950s Japan. A distinct historical conjuncture separate from the social upheaval of the immediate postwar as well as the overt politicization of the 1960s, the 1950s is characterized by a narrative of national rebuilding and return that marginalized discrepant experiences of the present—producing a disjointedness that I articulate as a form of ‘haunting.’ In order to develop this, I turn to two triptychs of creators (two writers, two filmmakers, two composers) who collaborated to document the ‘haunted’ reality of 1950s Japan: Marguerite Duras, Alain Resnais, and Giovanni Fusco; and Abe Kōbō, Teshigahara Hiroshi, and Takemitsu Tōru. Collectively, these artists articulate a crisis where concrete lived experiences did not correspond with national narratives of recovery and the economic, social, and political modes of structuring that regulated people’s lives. Their fiction and theory attempted to bring this crisis into focus by representing the ghostly estrangement of modern subjects and also by theorizing alternative methods of historicization following a logic of ‘haunting,’ one that challenged the accepted reality—the taken-for-grantedness—of celebratory narratives of postwar life. ii Acknowledgments Without the support and inspiration from various individuals and institutions I would not have been able to complete this dissertation.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Space In-Between: Masumura Yasuzo, Japanese New Wave, And
    SPACE IN-BETWEEN: MASUMURA YASUZO, JAPANESE NEW WAVE, AND MASS CULTURE CINEMA by PATRICK ALAN TERRY A THESIS Presented to the Department of East Asian Languages and Literatures and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2011 THESIS APPROVAL PAGE Student: Patrick Alan Terry Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of East Asian Languages and Literatures by: Prof. Steven Brown Chair Dr. Daisuke Miyao Advisor and Richard Linton Vice President for Research and Graduate Studies/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2011 ii © 2011 Patrick Alan Terry iii THESIS ABSTRACT Patrick Alan Terry Master of Arts Department of East Asian Languages and Literatures June 2011 Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema Approved: ________________________________________________ Dr. Daisuke Miyao During the early stage of Japan’s High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave’s central position through the career of Daiei Studios’ director, Masumura Yasuzo.
    [Show full text]
  • Japan Society Timeline
    JAPAN SOCIETY TIMELINE 1907 1911 1918 May 19 , 1907 : Japan Society founded by Annual lecture series initiated (lectures Japan Society Bulletin of February 28 , 1918 , Lindsay Russell, Hamilton Holt, Jacob Schiff, usually held at the Hotel Astor or at The exhorted readers: “Isn’t it worth your while August Belmont, and other prominent Metropolitan Museum of Art, drawing to spend fifteen minutes a month on Japan? Americans on the occasion of the May visit several hundred people); lectures from The day has passed when we needed to think to New York by General Baron Tamesada the first year included Toyokichi Ienaga only in terms of our own country. The inter - Kuroki and Vice Admiral Goro Ijuin. on “The Positions of the United States and national mind is of today. Read this Bulletin Japan in the Far East” and Frederick W. of the Japan Society and learn something John H. Finley, president of City College, Gookin on Japanese color prints. new about your nearest Western neighbor. elected Japan Society’s first president. Japan has much to teach us. Preparedness is Japan Society’s first art exhibition held Purpose of the Society set forth as “the pro - the watchword of the day: don’t forget that (ukiyo-e prints borrowed from private motion of friendly relations between the this includes mental preparedness. It is just collections and shown at 200 Fifth Avenue), United States and Japan and the diffusion as important to think straight as to shoot attended by about 8,000 people. among the American people of a more accu - straight.
    [Show full text]
  • Sofu Teshigahara and Isamu Noguchi Dates
    Sofu Teshigahara and Isamu Noguchi Dates: Dec 11, 2020 – Jan 31, 2021 [Winter Holidays: Dec 25 – Jan 1] Location: SHOP Taka Ishii Gallery, Hong Kong By appointment only SHOP Taka Ishii Gallery is pleased to present a two-person exhibition of works by Sofu Teshigahara (1900-1979), founder of the Sogetsu School of Ikebana flower arrangement, who left an indelible mark on postwar Japanese art history, and Isamu Noguchi (1904-1988), one of the leading sculptors of the 20th Century. The exhibit will feature Teshigahara’s prints, sculptures, and calligraphic works made between the 1950s and 1970s, and the “Akari” lighting works that Noguchi started designing in 1951. When Isamu Noguchi came over he said a pretty great thing It’s no good to arrange pine and have it look like pine It’s tough to make pine look like something else He says his Japanese is poor, but Japanese is rarely spoken this well Noguchi’s words provide good contrast To a phrase I hate Arrange flowers as if they were in nature They say the words are Rikyu’s, but I know They were spoken by an imbecile in his sleep Sofu Teshigahara, SOFU: His Boundless World of Flowers, Japanese edition, p. 108, Tokyo: Kodansha International, 1966 Like two old thieves who would never boast to the other about the things we seek, we’re bonded by empathy. We totally maintain silence. Isamu Noguchi, “On Artist Sofu Teshigahara”, Maboroshi, p.11, Tokyo: Kyuryudo, 1971 Teshigahara argued that Ikebana should neither depend on the beauty of flowers or arrange flowers as they are.
    [Show full text]
  • National Gallery of Art Film Fall 19
    National Gallery of Art Film Fall 19 Special Events 11 Basilio Martín Patino 21 Woman with a Movie Camera: Shirley Clarke at 100 25 Film Noir: New 35mm Restorations 29 ArteCinema 33 Welcome to Absurdistan: Eastern European Cinema 1950 to 1989 35 We Tell: Fifty Years of Community Media 41 ArtFIFA: International Festival of Films on Art 45 Trapped p29 The fall season opens with works by Spanish mas- ter Basilio Martín Patino, a luminary of the Nuevo Cine Español of the 1960s, presented on the occa- sion of the eightieth anniversary of the Spanish Republican exile and the end of the Spanish Civil War in 1939. Avant-garde American artist Shirley Clarke is also celebrated during the fall season in the series Woman with a Movie Camera: Shirley Clarke at 100. Welcome to Absurdistan: Eastern European Cinema 1950 to 1989 recalls the theatrical and literary traditions of the absurd — a major influ- ence in the ultimate downfall of Soviet-dominated regimes in Eastern Europe in 1989. We Tell: Fifty Years of Community Media explores in a five-part program the importance of participatory community media in the United States. Tributes to two major international festivals devoted to the art documen- tary — ArteCinema in Naples, Italy, and ArtFIFA in Montreal, Quebec — present recent interpretations of contemporary art on screen. Other special events include Animation Beyond Cinema, with work by emerging artists from The Anìmator Festival in Poznań, Poland; new 35mm print restorations of films noirs; ciné-concerts; Washington premieres; and three films that are part of a city-wide festival, Films Across Borders: Stories of Water.
    [Show full text]
  • Ikebana in the Expanded Field (1): Hiroshi Teshigahara and Contemporary Art
    Ikebana in the Expanded Field (1): Hiroshi Teshigahara and Contemporary Art Shoso (Kuninori) Shimbo, PhD Monash University Abstract The field of free style Ikebana today has expanded to incorporate many themes in common with contemporary Western art, in particular with installation and assemblage. From 1980 to 2001 Hiroshi Teshigahara explored the possibilities of installation through his bamboo works. Focusing on his unique attitudes toward the natural materials and his creative strategies of repetition and accumulation, this paper agues that his site specific installations fall within the context of the contemporary Western art, moving beyond the underlying Japanese cultural and spiritual traditions. Introduction Among traditional Japanese art forms, Ikebana has been comparatively malleable and has developed with influences from external factors including new aesthetic attitudes and sociocultural changes. Since the Meiji Restoration the influence of Western art has been the significant external force. Moving away from traditional styles and rules, jiyu- bana, free style Ikebana was developed in 1920's. This led to the development of the New Ikebana movement in the 1930's and Avant-garde Ikebana after World War Two. It appears today that the distinction between some current Ikebana work and the broader arena of contemporary art has become blurred (Singer, 1994, p. 46). In her highly influential essay, Sculpture in the Expanded Field, Rosalind Krauss observed an expansion in the definition of what sculpture could be. The development of American sculpture in 1960s and 1970s revealed the limitations of modernist sculptural discourse (Krauss, 1985). Free style Ikebana, as opposed to the formalized classical styles of Ikebana, seems to require a similar expansion around a set of terms, particularly site specificity and juxtaposition, in order to fit in with the modernist and postmodernist spaces of post war Ikebana.
    [Show full text]
  • WOMAN in the DUNES Suna No Onna (Woman of the Sands)
    Milestone Film & Video presents: A Film by Hiroshi Teshigahara WOMAN IN THE DUNES Suna no onna (Woman of the Sands) A Milestone Film Release P.O. Box 128 • Harrington Park, New Jersey 07640-0128 Phone (201) 767-3117 • Fax (201) 767-3035 • Email: [email protected] www.milestonefilms.com Woman in the Dunes Suna no onna (Woman of the Sands) Cast: Jumpei Niki, the Man Eiji Okada the Woman Kyoko Kishida Villagers Koji Mitsui, Hiroko Ito, Sen Yano, Ginzo Sekigushi, Kiyohiko Ichihara, Tamotsu Tamura, Hiroyuki Nishimoto Credits Director Hiroshi Teshigahara Scenario and Adaptation Kobo Abe Cinematographer Hiroshi Segawa Music Toru Takemitsu Editor Fusako Shyzui Producers Kiichi Ichikawa and Tadashi Ohno Production Supervisor Hiroshi Kawazoe Production Manager Iwao Yoshida Art Directors Toutetsu Hirakawa and Masao Yamazaki Lighting Mitsuo Kume Sound Direction Ichirou Kato and Junosuke Okuyama Sound Effeects Kenji Mori Assistant Director Masuo Ogawa Script Supervisor Eiko Yoshida Design Kiyoshi Awazu Title Design Kiyoshi Awazu Stills Yasuhiro Yoshioka A Teshigahara Production. Running Time: 123 minutes. Aspect Ratio: 1:1.33. Westrex Recording System. Japanese release: 1964 as Suna no onna (Woman of the Sands). American premiere: October 25, 1964, distributed by Pathé Contemporary. Winner, Special Jury Prize Cannes Film Festival 1964. Academy Award nominee, Best Foreign Film, 1964. Academy Award nominee, Best Director, 1965. Subtitles by Fumiko Takagi. ©1997 Milestone. Synopsis 1 A black screen and sounds of city life. The credits begin and among them appear official stamp marks and fingerprints. A microscopic single crystal of a grain of sand. Then several crystals of a grain. Then many grains. And then a vast expanse of sand.
    [Show full text]