DOCSLIB.ORG

SPRING . 1952 --*-- 3 Ll

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SPRING . 1952 --*-- 3 Ll J 1 SPRING . 1952 _ --*-- 3 ll I l , SPRING L95Z vol,. v No. I filunuscript THE LITERARY MAGAZINE OF VILKES COLLEGE VILKES-BARRE . PENNSYLVANIA Copyright I95Z by Wilkes College TABLE OT'CONTENTS The Angels of Beaver County, Pa. .W'ende1l Clark. .. 5 'W'arrnouth. The Red Roosterts Destiny. Dale . .. 9 Caatt Sit Still. Constance P. Srnith. 10 TheNighfuare.. ....JarnesM. Neveras....ll Pitter Patter. .Willard E. Crirnrnins. .15 Sunday School. rritrlillard E. Crirnrnins- .16 The Duck \tl/ho'W'anted toSwirn the Ocean. .... Dale Warrnouth,......17 14rillrs 1tray.. 'Richard Ridge. ....... ZO Propinquity ...l/llendeIlClark........23 A11 inVain.. ..DickBush. .....24 Wonders of the ltlirephoto. Chuck Glornan. .. 26 Editor -in-chief WENDELL CLARK Mernbers of the Staff SANDY FUREY ESTHER GOLDMAN ELEANOR PERLMAN DALE WARMOUTH The Angels of Beaver County, Pa. Wendell Clark Ir;-L825, everysalt lick settlernent had its share of tran- sients, all of whorn, with one hope and purpose, followed the downward path of the sun. Many of these rnen died, with faith in their hearts and pain in their eyes, and were covered over with carelessly piled rock which would rnark forever the route of the western trails. This tlde of hurnanity, roll- ing westward, carried on its crest the debris of a nation. Men, worrren, and babies jolted across the wagon-rutted trails, driving their pigs, carrying their Bibles, and taking kindness, violence, and indifference with them. Against thia tlde, Father Rapp, a tall, patriarchal man with abundant white hair, led a srnall gray-coated following towardthe distantblue hiUs of Pennsylvania. There, in sorne qulet valley, flowing with rnilk and honey, he hoped to build a wayof lifewhich the foreigners of Indiana had denied hirn. The cltlzens of New Econorny, Indiana, had stopped up their ears and hardened their hearts until Father Rapp realized that happiness would have to be sought elsewhere. tr'ather Rapp was a strange tnan. An angel had talked t<> hlrnandhadgiyen h1m vision to see the true way of life. The angel revealed to hirn that the day of the trurnpet was near at hand, and the walls of the world, and of Indiana, would shatter and fall. Only the wlse would be saved, the angel had said, and hehadgivenwisdorntotr'ather R"pp, who would live to hear the terrible call of the trumpet and to see the angelic host descending, sickLes in hand, to reap the har- rrest of tJle world. Father Rapp had gathered around hirn a chosenfew and forrned a religious Utopia: a gort of Biblical cornmunisrn withparadige as theultirnate end. These people, the Rappites, also called thernselves trHarrnonists," becauge harrnony, achieved by celibacy, econorny, and a sharing of rnaterial wealth, would perrnit thern to live like angels until heaven and earth passed away and only paradise rernained. The trail to Pennsylvania was long and weary; rabbits scuttled to the underbrush in dusty pairs and stopped, fear- ful andquivering, towatch in rnoist-eyed wonder the labored progress of the Harrnonists. Father R"pP, following a pillar of cloudandapillar of fire, led the srnall band into the haven MANUSCRIPT Spring 1952 of a srnallr green valley in Beaver County. Here he paused and surveyed the rich land and the shelteri.ng hills and found it good. Here was lodging for the angels for the short tirne rernaining to the earth. Until the end, however, there was workfor the earthty angels to do and wealth to be gained and shared. Accordingly, the city of Old Econorny was planned and constructed. The valley brought forth a ternple, cornrnuni- ty gardens, orchards, fields and factories; and, under the startled trees, a city of geornetric streets and celibate life aros e. Old Econorny prospered in the aew Land. Father Rapp, whose gift of heavenly vision had apparently sharpened his earthly vision, had an eye to the possibilities of production by free labor. Under his guidance, the fields poured their yellow treasure into the granaries, increasing herds of sheep drifted like clouds over the pastures, and, in the rnuddy depths of the pigsties, pigs ate voluptuously, under a dirn c ornpuls ion, and grunted a chorus e I indiffer enc e to their fate. The factories spawned great quantities of broorns and hats. Father Rapp lookeduponhis handiwork and found it both good and profitable. A good deal of the weaLth passed through his hands and into his horne, a large pretentious building called rrThe Great House, " which had dining tables, good china, heavy silverware, portraits, and a servant. During the long days, the Rappite workers toiled in the fields andfactories to hastenthe death of tirne. In the golden duskof the evenings, theywalked in the flowering cornrnunity gardens, around the silver rnoat of the garden Ternple, and talked of paradise, while, in the trees overhead, the gray rnourning doves huddled together and spoke so{tly to each other in rich pagan tones. At night, the workers slept in the crowded warrens, breathing the crarnped, odor-packed air, and drearned of love which was not all angelic. Celibacywas a difficult ideal in a cornrnunity rnade up of rnarriedpeople, vowed to celibacy, andhealthyyoung people, whose eyes were filled with the sights of the ardent wooing of Nature, andwhose ears were ful1 of talk about the prolific Morrnons and the free-lovj.ng Owenites. Feeling the ernphasis of nature on f ertility, a f ew daughters of Babylon walked frorn the path of wi.sdorn. When their sins swelled inside their rninds and bodies and becarne evident to heaven and earth, the condernning eyes of the Harrnonists arrayed thern in purple and scarlet and burned the narne on their foreheads. Spring 1952 MANUSCRIPT Father Rapp threatened and punished the fallen angels; he rnolded them on the wheel of instruction and taught them to crush the evil underfoot. However, their heels rernained bare, and the serpent hid in the garden, under the pollen- laden flowers, occasionally tasting of flesh. The striving of the Harrnonists for the irnpossible was the cause of rnany disturbances within the bounds of Cld Econorny andrnany a laughwithout. The outside world rnocked the little colony and stoned it with words. Even Lord Byron. the Prince of Cynics, wondered aloud in his poerrr, 'Don Juan,tt how a state without wedlock could be called "Har- rnony. " Seasons gave birth to seasons, and, in spite of their problems, the Rappites flourished. Father R"pp, aging, drearned of the tirne of reaping of the ripe harvest of the earthandof the shining city where ernerald and jasper wal1s sparkledandglowed, as lurninous as Mosesr face, and where the streets were a crystal-clear gold. And sornetirnes his drearns altered, like reflections on rippling water, and he saw Moses, encircled by swaying, chanting dancers, kneel-- ing before the rnolten calf; or, he stood with the elders, whose narrres he could not recall, and listened to thern tell of the great flood, while the child Noah played in the sand at hisfeet. After a period o{ drearning, Father Rapp died, with a curious wonder on his face TheRappites, shakenbythis obvious neglect of God, who had prornised thern paradise within their lifetirne, tried to rernain true to their ideals. But the flarning spirit of Father Rapp, ignited by the burning bush, was no longer there to restrain the rnagnetic forces of nature and rnany of the younger Rappites deserted the colony. The older ones, un- able to reorder their faith, rernained. The years passed. The Rappites withered and declined and carne to the only possible end for a celibate group in which there was no outside i.nterest. They perished, by ones and twos and threes; {oreign hands took over their factories; a steel corporation took over their lands and a fieryfurnacernighthave flarned where rnen once worked and drearnedofangels, hadnot a historical society stretched out a protective wing and sheltered the rernaining buildings of Old Econorny. Today, tlee Great House, the Garden Ternple, and the Cornrnunity Gardens are kept in good repair as rnonuments 8 MANUSCRIPT Spring 1952 toa social experirnentwhich failed by reason of its success. At least, Father Rapp was a success, and, as far as the rnonurnent is concerned, he rnay have preferred the fiery furnace; undoubtedl.y he would have considered it rnore ap- propriate. The Red Rooster's Destiny DaIe Warrnouth The red roosterts destiny is holiday dinner. The honey of his lecherous throat with which he addressed his harern will rnake his browned flesh sweet-- the brass of his cocksure throat witJ: which he flung his verbal gauntlet down at four orclock each rnorning will rnake hirn glitter brightly on the platter. He is surprised to find hirnself swinging spurs upward in the air as he writes graffiti cursively with his blood upon the snow. By permission of National Poetry Association, 32 l0 Selby Avenue, Los Angeles 34, California. Published irt America Sdzgs, 195 I Anthology of College Poetry' Can't Sit Still Constance P. Srnith 'Want to rnake rny hands move all the tirne Canrt sit stiU! W'ant to play a tune or write a rirne Canrt sit sti1l ! Want to draw, cook, knit, or sew Rake the leaves, weed a garden row Do sornething, keep on rnoving--ohl I canrt sit still ! Sit in class and scribble, page on page Throw things when Ifrn in a roaring rage No rnatter what I do-- Itrs sirnply hopeless to--even try-- Sitting Still ! By perrnission of National Poetry Asgociation, 3ZlO Selby Avenue, Los Angeles 34, California. Published irt Am e ri c a Sizgs, 195 I Anthology of College Poetry. Reprinted frorn a previous issue of the lt aouscript. The Nightmare Jarnes M. Neveras A knock on his cabin door awakened hirn frorna rniser- able drearn.
Load more

Recommended publications
  • Peace in Vietnam! Beheiren: Transnational Activism and Gi Movement in Postwar Japan 1965-1974
    PEACE IN VIETNAM! BEHEIREN: TRANSNATIONAL ACTIVISM AND GI MOVEMENT IN POSTWAR JAPAN 1965-1974 A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE AUGUST 2018 By Noriko Shiratori Dissertation Committee: Ehito Kimura, Chairperson James Dator Manfred Steger Maya Soetoro-Ng Patricia Steinhoff Keywords: Beheiren, transnational activism, anti-Vietnam War movement, deserter, GI movement, postwar Japan DEDICATION To my late father, Yasuo Shiratori Born and raised in Nihonbashi, the heart of Tokyo, I have unforgettable scenes that are deeply branded in my heart. In every alley of Ueno station, one of the main train stations in Tokyo, there were always groups of former war prisoners held in Siberia, still wearing their tattered uniforms and playing accordion, chanting, and panhandling. Many of them had lost their limbs and eyes and made a horrifying, yet curious, spectacle. As a little child, I could not help but ask my father “Who are they?” That was the beginning of a long dialogue about war between the two of us. That image has remained deep in my heart up to this day with the sorrowful sound of accordions. My father had just started work at an electrical laboratory at the University of Tokyo when he found he had been drafted into the imperial military and would be sent to China to work on electrical communications. He was 21 years old. His most trusted professor held a secret meeting in the basement of the university with the newest crop of drafted young men and told them, “Japan is engaging in an impossible war that we will never win.
    [Show full text]
  • East-West Film Journal, Volume 3, No. 2
    EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad­ uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi­ ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa­ nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9).
    [Show full text]
  • From 'Scottish' Play to Japanese Film: Kurosawa's Throne of Blood
    arts Article From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood Dolores P. Martinez Emeritus Reader, SOAS, University of London, London WC1H 0XG, UK; [email protected] Received: 16 May 2018; Accepted: 6 September 2018; Published: 10 September 2018 Abstract: Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s Throne of Blood (Kumonosu-jo¯ 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption. Keywords: Shakespeare; Kurosawa; Macbeth; films; translation; transcultural; Noh; tragedy; fate; guilt 1.
    [Show full text]
  • Elements of Realism in Japanese Animation Thesis Presented In
    Elements of Realism in Japanese Animation Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By George Andrew Stey Graduate Program in East Asian Studies The Ohio State University 2009 Thesis Committee: Professor Richard Edgar Torrance, Advisor Professor Maureen Hildegarde Donovan Professor Philip C. Brown Copyright by George Andrew Stey 2009 Abstract Certain works of Japanese animation appear to strive to approach reality, showing elements of realism in the visuals as well as the narrative, yet theories of film realism have not often been applied to animation. The goal of this thesis is to systematically isolate the various elements of realism in Japanese animation. This is pursued by focusing on the effect that film produces on the viewer and employing Roland Barthes‟ theory of the reality effect, which gives the viewer the sense of mimicking the surface appearance of the world, and Michel Foucault‟s theory of the truth effect, which is produced when filmic representations agree with the viewer‟s conception of the real world. Three directors‟ works are analyzed using this methodology: Kon Satoshi, Oshii Mamoru, and Miyazaki Hayao. It is argued based on the analysis of these directors‟ works in this study that reality effects arise in the visuals of films, and truth effects emerge from the narratives. Furthermore, the results show detailed settings to be a reality effect common to all the directors, and the portrayal of real-world problems and issues to be a truth effect shared among all. As such, the results suggest that these are common elements of realism found in the art of Japanese animation.
    [Show full text]
  • Asiatic Society of Japan
    http://e-asia.uoregon.edu TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN VOL XLVI.-PART II 1918 THE ASIATIC SOCIETY OF JAPAN, KEIOGIJIKU, MITA, TŌKYŌ AGENTS KELLY & WALSH, L'd., Yokohama, Shanghai, Hongkong Z. P. MARUYA Co., L'd., Tokyo KEGAN PAUL,TRUEBNER & Co., L'd., London TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN VOL XLVI.-PART II 1918 THE ASIATIC SOCIETY OF JAPAN, KEIOGIJIKU, MITA, TŌKYŌ AGENTS KELLY & WALSH, L'd., Yokohama, Shanghai, Hongkong Z. P. MARUYA Co., L'd., Tokyo KEGAN PAUL,TRUEBNER & Co., L'd., London INTRODUCTION. Subject and Structure .---The Heike Monogatari, one of the masterpieces of Japanese literature, and also one of the main sources of the history of the Gempei period, is a poetic narrative of the fall of the Heike from the position of supremacy it had gained under Taira Kiyomori to almost complete destruction. The Heike, like the Genji, was a warrior clan, but had quickly lost its hardy simplicity under the influence of life in the Capital, and identified itself almost entirely with the effeminate Fujiwara Courtiers whose power it had usurped, so that the struggle between it and the Genji was really more one between courtiers and soldiers, between literary officials and military leaders. Historically this period stands between the Heian era of soft elegance and the Kamakura age of undiluted militarism. The Heike were largely a clan of emasculated Bushi, and their leader Kiyomori, though he obtained his supremacy by force of arms, assumed the role of Court Noble and strove to rule the country by the same device of making himself grandfather to the Emperor as the Fujiwara family had previously done.
    [Show full text]
  • Antinuclear Politics, Atomic Culture, and Reagan Era Foreign Policy
    Selling the Second Cold War: Antinuclear Cultural Activism and Reagan Era Foreign Policy A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy William M. Knoblauch March 2012 © 2012 William M. Knoblauch. All Rights Reserved. 2 This dissertation titled Selling the Second Cold War: Antinuclear Cultural Activism and Reagan Era Foreign Policy by WILLIAM M. KNOBLAUCH has been approved for the Department of History and the College of Arts and Sciences by __________________________________ Chester J. Pach Associate Professor of History __________________________________ Howard Dewald Dean, College of Arts and Sciences 3 ABSTRACT KNOBLAUCH, WILLIAM M., Ph.D., March 2012, History Selling the Second Cold War: Antinuclear Cultural Activism and Reagan Era Foreign Policy Director of Dissertation: Chester J. Pach This dissertation examines how 1980s antinuclear activists utilized popular culture to criticize the Reagan administration’s arms buildup. The 1970s and the era of détente marked a decade-long nadir for American antinuclear activism. Ronald Reagan’s rise to the presidency in 1981 helped to usher in the “Second Cold War,” a period of reignited Cold War animosities that rekindled atomic anxiety. As the arms race escalated, antinuclear activism surged. Alongside grassroots movements, such as the nuclear freeze campaign, a unique group of antinuclear activists—including publishers, authors, directors, musicians, scientists, and celebrities—challenged Reagan’s military buildup in American mass media and popular culture. These activists included Fate of the Earth author Jonathan Schell, Day After director Nicholas Meyer, and “nuclear winter” scientific-spokesperson Carl Sagan.
    [Show full text]
  • Bringing Japanese Pop Culture Travelers Into Your Classroom: Perils, Pitfalls, and Payoffs
    Teaching About Asia Through Travelers’ Tales Bringing Japanese Pop Culture Travelers into Your Classroom PERILS, PITFALLS, AND PAYOFFS By Paul E. Dunscomb Tatsuya Nakadai as the unemployed samurai, Hanshiro Tsuguma, in Harakiri, a film by Masaki Kobayashi. ©1962 Shochiku Co. Ltd. ©2005 The Criterion Collection. Editor’s Note: Readers can find short synopses of all films discussed in this article on page 52. o discussion of Japanese travelers is complete without men- runs towards the anime series Cowboy Bebop.2 However, I note with tioning the most widely traveled and influential figures to some alarm that while I don’t actively seek it out, somehow, very lit- Nhave ever left the country. They’ve been everywhere, repre- tle Hello Kitty related material gets by me.3 senting their nation and their culture, and wherever they’ve gone they I have always made it a point to invite Japanese film figures into have left an indelible impression. They are the icons of Japanese popu- my classes. While I would love to make more use of anime series lar culture—everything from Hello Kitty to Pokemon. But perhaps the like Cowboy Bebop or translated manga (Japanese graphic novels), most widely traveled figures in Japanese popular culture have come these often tend to be too unwieldy to fit into my overall course nar- from the movies. Among the most familiar are samurai and rubber- rative. Hello Kitty is the ideal exemplar of the fungible nature of suited monsters called kaij†. Inviting these travelers into your class will popular culture products. Americans rarely suspect that Kitti-chan’s offer excellent opportunities to teach about Japan, but you need to be face adorns a far more varied group of products in Japan than are careful when they come to visit to make sure they contribute more to available in the United States, including kitchen appliances and your class than just a vacation from listening to lectures.
    [Show full text]
  • A TAKESHI KITANO FILM a BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN and OFFICE KITANO Production
    A TAKESHI KITANO FILM A BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN and OFFICE KITANO Production IN COMPETITION JAPAN - 2010 -109 min - Color - Cinemascope - Dolby Digital WORLD SALES CELLULOID DREAMS CELLULOID DREAMS 2 rue Turgot IN CANNES INTERNATIONAL PRESS 75009 Paris Le Grand Hotel RICHARD LORMAND world cinema publicity T: + 33 1 4970 0370 entrance “The Cormoran” www.filmpressplus.com F: + 33 1 4970 0371 7th Floor - 45 La Croisette [email protected] [email protected] T: + 33 4 93 68 32 98 Tel : +33-9-7044-9865 / +33-6-2424-1654 www.celluloid-dreams.com F: + 33 4 93 68 36 49 Several subsidiary bosses gather at a lavish lunch with “Mr. Chairman,” the head of the ruling Sanno-kai crime organization which controls the Greater Tokyo area. Sanno- kai underboss Kato warns Ikemoto about his overt dealings with family outsider Murase, an old-timer with whom he recently made a pact in prison. In an effort to ease Mr. Chairman’s suspicions, Ikemoto asks fellow boss Otomo to do his dirty work for him by making a minor but obvious move against Murase. Otomo’s actions are the start of a ruthless series of conflicts and betrayals. Before long, several yakuza clans are out for blood in their constant battle for power and money. The rival bosses fight to rise through the ranks by scheming and making short-lived allegiances. In this corrupt world where there are no heroes, it’s Bad Guy vs. Bad Guy in a spiralling outrage of gang warfare… THE STORY ON YAKUZA FLICKS For a long time, I was often questioned why I made yakuza flicks.
    [Show full text]
  • "Ersatz As the Day Is Long": Japanese Popular
    “ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War.
    [Show full text]
  • David Stratton Curates Akira Kurosawa Retrospective 12/04/2017
    MEDIA RELEASE EMBARGOED UNTIL 00.01am WEDNESDAY 12 APRIL 2017 DAVID STRATTON CURATES AKIRA KUROSAWA RETROSPECTIVE Sydney Film Festival, Australian Centre for the Moving Image (ACMI), the National Film and Sound Archive of Australia (NFSA) and The Japan Foundation announce that David Stratton will present a program of 10 essential films directed by the great Japanese filmmaker Akira Kurosawa. Entitled Essential Kurosawa: Selected by David Stratton, the curated films will screen as a retrospective program at the Art Gallery of New South Wales and Dendy Opera Quays cinema, as part of the 64th Sydney Film Festival (7-18 June). The retrospective will also screen in Melbourne at ACMI (25 May-8 June) and in Canberra at NFSA’s Arc cinema (14 June-30 June). This retrospective consists of ten of the finest films made by Kurosawa, from Rashomon (1950) to Ran (1985), with specially imported 35mm prints courtesy of The Japan Foundation and Toho Co. Ltd. Akira Kurosawa was a master of action, influenced by directors like John Ford, who in turn influenced a younger generation of filmmakers like Francis Ford Coppola, George Lucas and Martin Scorsese. Renowned critic and broadcaster, David Stratton, a former director of the Sydney Film Festival (1966 to 1983), will introduce the Sydney screenings and a number of the Melbourne and Canberra screenings. David Stratton said, “During the ‘golden era’ of Japanese cinema, Akira Kurosawa was by far the best- known Japanese director internationally. His films were not only accessible, they were marvellously executed.” “The best of Kurosawa’s films possess a grandeur combined with a common touch.
    [Show full text]
  • TRADITIONAL FOLK SONG in MODERN JAPAN 2240 Pre.Qxd 11/26/07 8:59 PM Page Ii 2240 Pre.Qxd 11/26/07 8:59 PM Page Iii
    2240_Pre.qxd 11/26/07 8:59 PM Page i TRADITIONAL FOLK SONG IN MODERN JAPAN 2240_Pre.qxd 11/26/07 8:59 PM Page ii 2240_Pre.qxd 11/26/07 8:59 PM Page iii TRADITIONAL FOLK SONG IN MODERN JAPAN SOURCES, SENTIMENT AND SOCIETY David W. Hughes SOAS, UNIVERSITY OF LONDON 2240_Pre.qxd 11/26/07 8:59 PM Page iv TRADITIONAL FOLK SONG IN MODERN JAPAN SOURCES, SENTIMENT AND SOCIETY David W. Hughes First published 2008 by GLOBAL ORIENTAL LTD PO Box 219 Folkestone Kent CT20 2WP UK www.globaloriental.co.uk © David W. Hughes 2008 ISBN 978–1–905246–65–6 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by anyelectronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without prior permission in writing from the publishers. David W. Hughes has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the Author of this work. British Library Cataloguing in Publication Data A CIP catalogue entry for this book is available from the British Library The Publishers and Author wish to thank the Great Britain-Sasakawa Foundation and SOAS, University of London, for their generous support in the making of this book. Set in Garamond 11.5 on 13pt by IDSUK (Data Connection) Ltd. Printed and bound in England by Antony Rowe Ltd., Chippenham, Wiltshire 2240_Pre.qxd 11/26/07 8:59 PM Page v to Gina, to Sue and Jerry Hughes, and to all ‘the folk’ of Japan 2240_Pre.qxd 11/26/07 8:59 PM Page vi 2240_Pre.qxd 11/26/07 8:59 PM Page vii C ONTENTS List of Musical Examples xiii List of Figures xv List of Tables xvii Stylistic conventions xxi Foreword xxiii Acknowledgements xxix 1.
    [Show full text]
  • Social Meaning of Japanese Melodrama in the Heisei Era 鬱への治療法−−平成時代日本のメ ロドラマの社会的な意味
    Volume 10 | Issue 11 | Number 4 | Article ID 3714 | Mar 05, 2012 The Asia-Pacific Journal | Japan Focus Therapy for Depression: Social Meaning of Japanese Melodrama in the Heisei Era 鬱への治療法−−平成時代日本のメ ロドラマの社会的な意味 Yau Shuk-ting, Kinnia Therapy for Depression: Socialmemorializing the good old days of Japan. Meaning of Japanese Melodrama in Showa superstars such as Yamaguchi Yoshiko 2 3 the Heisei Era (aka Li Xianglan), Ishihara Yūjirō and Misora Hibari4 Yau Shuk Ting, Kinnia have been repeatedly memorialized. Abstract: This paper examines the social meanings embedded in Japanese melodramas produced since the 1990s and their use by the public for comfort and healing in an attempt to deal with declining confidence, both personal and national, in the wake of the burst of the bubble economy. It notes, further, how the Japanese media has used similar tropes in an effort to rebuild morale in the aftermath of the March 11 earthquake. Keywords: Japan, Heisei, bubble economy, melodrama, therapy Introduction After World War II, Japan was able to rise from the ashes like a phoenix to emerge as a superpower and a prosperous industrial nation. The death of Emperor Hirohito in 1989, however, marked the end of the Showa era and the start of the Heisei period. Heisei, however, began Japan's prolonged political, economic and social decline, a period some have termed the Lost Decade(s).1 The bursting of the bubble economy not only triggered a host of social problems, but deeply shook popular confidence. During this difficult period, Japanese have sought ways to heal wounded personal and national pride.
    [Show full text]