1 Crèdits | Créditos | Credits

Total Page:16

File Type:pdf, Size:1020Kb

1 Crèdits | Créditos | Credits Hiro (2003), Pierre Gonnord Hiro (2003), Pierre Gonnord www.asianfilmfestival.barcelona 1 CRÈDITS | CRÉDITOS | CREDITS DIRECCIÓ | DIRECCIÓN | DIRECTION Menene Gras Balaguer PROGRAMACIÓ I PRODUCCIÓ | PROGRAMACIÓN I PRODUCCIÓN | PROGRAMING AND PRODUCTION Menene Gras Balaguer | Rodrigo Escamilla Sandoval COORDINACIÓ GENERAL | COORDINACIÓN GENERAL | GENERAL COORDINATION Rodrigo Escamilla Sandoval COORDINACIÓ TÈCNICA | COORDINACIÓN TÉCNICA | TECHNICAL COORDINATION Sandra Mur Puyuelo ASSISTENT DE COORDINACIÓ | ASISTENTE DE COORDINACIÓN | COORDINATOR ASSISTANT Cristina Grau Gómez | Jorge Ramón Gómez Cordero | Juan Manuel Rodríguez Pérez | Cristina De la Rosa Díaz | Eva Silvestre Riera | Sara Sevilla Segura | Pamela Taveras Pérez DIRECCIÓ CINEMES GIRONA | DIRECCIÓN CINEMES GIRONA | CINEMES GIRONA DIRECTION Toni Espinosa ASSISTÈNCIA TÈCNICA | ASISTENCIA TÉCNICA | TECHNICAL ASSISTANCE Giulliana Burneo TRADUCCIÓ I SUBTÍTOLS | TRADUCCIÓN Y SUBTÍTULOS | TRANSLATION AND SUBTITLES 36 Caracteres Esteban Andueza | Sandra Mur Puyuelo | Teresa Vidaurre | Mercè Blasco | Esther Arias Valor | James Burke | Victoria Morales | Gesara Sert DISSENY I MAQUETACIÓ DEL CATÀLEG | DISEÑO Y MAQUETACIÓN DEL CATÁLOGO | CATALOGUE DESIGN AND LAYOUT Pamela Taveras Pérez COMUNICACIÓ | COMUNICACIÓN | COMMUNICATION Departament de Comunicació de Casa Àsia | Departamento de Comunicación de Casa Asia | Casa Asia Communication Department PÀGINA WEB DEL FESTIVAL | PÁGINA WEB DEL FESTIVAL | FESTIVAL WEBSITE www.asianfilmfestival.barcelona SÖMI Graphic Studio (www.somistudio.com) GESTIÓ DE RECURSOS | GESTIÓN DE RECUROS | RESOURCE MANAGEMENT Adelaida Rodríguez | Jordi González RESPONSABLE DE PATROCINIS | RESPONSABLE DE PATROCINIOS | SPONSORSHIP MANAGER Pedro Ralda AGRAÏMENTS | AGRADECIMIENTOS | KNOWLEDGMENTS A tot l'equip de Casa Àsia | A todo el equipo de Casa Asia | To all Casa Asia’s staff members Cinemes Girona | Toni Espinosa | Maria Angels Amorós | Giulliana Burneo | Fabio Maestri CaixaForum | Valentí Farràs | Josep Miquel del Campo Andión Filmoteca de Catalunya | Esteve Riambau | Octavi Martí Coll Generalitat de Catalunya | Departament de CulturaCatalunya | ICEC | ICEC Ajuntament de Barcelona | ICUB Catalunya Film Festivals | Marta Lladó Hong Kong Economic and Trade Office (Brussels) Asian Film Academy & Asian Film Awards Macao Tourism Brard in Spain | Anabela Couto Consejería Cultural de la Embajada de la R.I. de Irán en España | Mohammad Hassan Fadaidard | Alireza Esmaeili | Alireza Joleini Farabi Foundation | Amir Esfandiari | Mahsa Fariba Centro Cultural Coreano | Yi Chongyul | Eunyoung Cho Japan Foundation | Shoji Yoshida | Alejandro Rodríguez Medina ASEAN FILM | Briccio Santos Fundació Institut Confuci de Barcelona | Shiru Chang NETPAC | Network for the Promotion of Asian Cinema Kazakhfilm Studios | Aizhana Kassymbekova Cathay Pacific We are Water Foundation Hotel Actual Thai Barcelona Royal Cuisine Imagineindia Film Festival | Qazi Abdur Rahim SÖMI | Víctor Xirau Montagut | Cristina Reventós Bosch | Mª Gràcia Falgueras i Bosch Betevé El Periódico Ràdio 4 rne Fundació TMB CRAI, Biblioteca Filosofia Geografia i història | Universitat de Barcelona Jurats | Jurados | Juries A tots els membres del Jurat Jove | A todos los miembros del Jurado Joven | All Youth Jury members Distribuïdores | Distribuidoras | Distributors Asian Shadows | Aitysh Film | Antipode | Aquatinter films | Barton & Barton | Blueskin Films | Bravos Pictures Limited | Bhutan Film Trust | Culture Distributor | Dreamz productions | Embankment Films | Emperor Group | FARABI FOUNDATION | Golem | Good Move Media | Gorai Films | Hairun Media | Hairun Pictures | Kazakhfilm | Lola Amaria Production | Luxbox Films | M-Line Distribution | Madhu Entertainment & Media | Mosquito Films Distribution | Nologo Films | One Cool Film | PVR Pictures | Random Films | Reel Suspects | TBA Studios | The film collaborative | Shoreline Entertainment | Way | Distribution Executive ÍNDEX | ÍNDICE | INDEX ÍNDEX | ÍNDICE | INDEX P. 5 INTRODUCCIÓ | INTRODUCCIÓN | INTRODUCTION ASIAN FILM FESTIVAL. BARCELONA 2018 David Navarro INTRODUCCIÓ Director | INTRODUCCIÓN General de Casa | INTRODUCTION Asia ASIAN FILM FESTIVAL. BARCELONA 2018 David Navarro P. 7 ÀSIA GLOBAL | ASIA GLOBAL | GLOBAL ASIA Director General de Casa Asia Menene Gras Balaguer Directora de Cultura y Exposiciones ÀSIA GLOBAL | ASIACasa GLOBAL Asia | GLOBAL ASIA Menene Gras Balaguer P. 9DirectoraJURATS de | CulturaJURADOS y Exposiciones | JURIES OBERTURA I CLOENDA | APERTURA Y CasaCLAUSURA Asia | OPENING AND CLOSING SECTION | APERTURA Y CLAUSURA | OPENING AND CLOSING SECTION P. 11 OBERTURA I CLOENDASECCIÓ OFICIAL | SECCIÓN OFICIAL | OFICIAL SECTION SECCIÓ OFICIALP. 15 PANORAMASECCIÓ OFICIAL | SECCIÓN | SECCIÓN OFICIAL OFICIAL PANORAMA | OFICIAL | OFICIAL SECTION PANORAMA SECTION | SECCIÓN OFICIAL PANORAMA | OFICIAL PANORAMA SECTION P. 33 SECCIÓ OFICIALSECCIÓ PANORAMADISCOVERIES | SECCIÓN DISCOVERIES | DISCOVERIES SECTION P. 48 SECCIÓ DISCOVERIESSECCIÓ NETPAC | SECCIÓN | SECCIÓN DISCOVERIES NETPAC | SECTION | DISCOVERIES NETPAC SECTION | SECCIÓN NETPAC | SECTION NETPAC P. 59SECCIÓSECCIÓ ESPECIAL NETPAC | SECCIÓN ESPECIAL | SPECIAL SECTION P. 76 SECCIÓ ESPECIAL | SECCIÓN ESPECIAL | SPECIAL SECTION Koreeda Hirokazu: RETROSPECTIVA | RETROSPECTIVA | RESTROPECTIVE P. 93 Koreeda Hirokazu: RETROSPECTIVA | RETROSPECTIVA | RESTROPECTIVE PROGRAMACIÓ | PROGRAMACIÓN | SCHEDULE P. 102 PROGRAMACIÓ | PROGRAMACIÓN | SCHEDULE ASIA ASIAN FILM FESTIVAL BARCELONA 2018 Introducció | Introducción | Introduction David Navarro García Director General de Casa Asia | Director General de Casa Asia | General Director of Casa Asia Aquesta tardor, i per sisè any consecutiu, torna al calendari d'activitats culturals de Casa Àsia una de les seves principals cites: l'Asian Film Festival Barcelona/AFFBCN. De nou, ens bolquem en oferir a la ciutat de Barcelona una de les mostres més completes de la cinematografia asiàtica contemporània que es fan a Europa. Una de les missions de Casa Àsia és la d’apropar a la ciutadania el coneixement de la regió Àsia-Pacífic en els seus diferents vessants -cultural, social, polític, econòmic, geogràfic, lingüístic, artístic- i el cinema constitueix per a nosaltres un mitjà ideal per aconseguir que, no només els aficionats a la gran pantalla, sinó tots aquells que tinguin un interès per aquesta zona del món, puguin veure en les pel·lícules seleccionades una mostra contemporània de la diversa i extensa xarxa de països, llengües, creences i marcs polítics, socials i culturals de l’Àsia i el Pacífic. La nostra programació cultural ordinària inclou, al llarg de l'any, tant cicles de cinema de països asiàtics com tot una sèrie de temes escollits pel seu especial contingut i interès. L'Asian Film Festival Barcelona "és, sens dubte, el punt àlgid de la nostra programació cultural, amb una proposta que permet al públic assistent fer una autèntica immersió asiàtica durant una desena de dies. El continent asiàtic compta amb prestigiosos focus cinematogràfics. Qualsevol aficionat al cinema que resideixi en una ciutat europea té la possibilitat d'accedir a cintes procedents de la Xina, Corea, Índia, Iran, Japó, Singapur ... per citar només les indústries cinematogràfiques amb més difusió internacional. En molts casos, es tracta de pel·lícules guardonades en festivals europeus i americans de primer nivell i que, per tant, estan presents a les cartelleres de tot el món. El nostre AFFBCN compte aquest any, per primer cop, amb la projecció d'una selecció de set títols de la programació dels darrers “Asian Film Awards”, que concedeix l’Asian Film Academy de Hong Kong. L’objectiu de voler oferir una visió àmplia de la cinematografia asiàtica també ens fa dirigir la mirada a cinematografies menys conegudes i, en concret,a la majoria de produccions asiàtiques que tenen una menor presència en els circuits de distribució comercial. D’aquesta manera, el nostre festival permet que el públic pugui accedir a un gran nombre de pel·lícules que mai arriben a ser distribuïdes a Europa, tot i ser títols de gran impacte en els seus respectius països i d'una qualitat artística notable. Aquest és precisament el nostre principal repte: Casa Àsia selecciona i incorpora al Festival el cinema actual de més qualitat de bona part dels països asiàtics, sense deixar d’exhibir les pel·lícules més conegudes i aclamades. Es tracta de produccions que resulten claus per conèixer les societats asiàtiques en profunditat, amb els seus conflictes, els seus anhels, i la seva manera d’entendre i fer front a la vida. En darrer terme, el Festival pot ser, simplement, una bona ocasió per deixar de banda, per uns dies, el nostre marc cultural de referència i gaudir del setè art, d’espais geogràfics i culturalment distants: Àsia Oriental, Sud d’Àsia, Sud-est asiàtic, Àsia Central i Oceania. ------------------- Por sexto año consecutivo, este otoño vuelve al calendario de actividades culturales de Casa Asia una de sus principales citas: el ‘Asian Film Festival. Barcelona’ (AFFBCN). De nuevo nos volcamos en ofrecer en Barcelona la que sin duda es una de las muestras más completas en Europa de la cinematografía asiática contemporánea. Siendo una de las misiones de Casa Asia aproximar a la ciudadanía el conocimiento del entorno Asia – Pacífico en todas sus vertientes – cultural, social, política, económica, geográfica, lingüística, artística,…- el cine constituye para nosotros un medio ideal para lograr que, no sólo los aficionados a la gran pantalla, sino todos aquellos que tengan interés por esa zona del mundo, puedan
Recommended publications
  • Translation Review Number Sixty-Six • 2003
    Translation Review Number Sixty-Six • 2003 The University of Texas at Dallas TRANSLATION REVIEW No. 66, 2003 TABLE OF CONTENTS Interview with Breon Mitchell and Uwe Timm: Collaboration Between Translator and Author . .1 Rainer Schulte Not Getting it Right . .8 David Ferry From Dean to Deantrepreneur: The Academic Administrator as Translator . .14 Abby Kratz and Dennis Kratz Translating Diversity: The Distinct and Variegated Voice of Clifford Geertz . .20 Gregory Conti Sad Tropics, or Tristes Tropiques? . .27 Liane Gutman Renditions: 30 Years of Bringing Chinese Literature to English Readers . .30 Audrey Heijns Whispered Urgency: Translating Sound and Momentum in . .34 Raffaello Baldini’s “E’ Malan” Adria Bernardi On the Cathay Tour with Eliot Weinberger’s New Directions Anthology of Classical Chinese Poetry . .39 Steve Bradbury Method or Maestri: Two Approaches to (Teaching) Translation . .53 Gregory Conti Translating India: Enabling Tamil and Sanskrit Poems to be Heard in English . .58 R. Parthasarathy The Mexican Poet Homero Aridjis . .69 Rainer Schulte BOOK REVIEW The Return of the River by Roberto Sosa, tr Jo Anne Engelbert . .72 Steven F. White, Reviewer Translation Review 1 INTERVIEW WITH BREON MITCHELL AND UWE TIMM: COLLABORATION BETWEEN TRANSLATOR AND AUTHOR [An interview conducted with the German novelist Uwe Timm and his translator Breon Mitchell at Indiana University, May 2003] By Rainer Schulte RS: Breon, how did you develop your relationship with also took a fictional approach to the material. It was pre- Uwe Timm while you were working on the translation of cisely the combination of fact and fiction that interested his novel Morenga? me. The novel is about a rebellion in the former German colony of South West Africa between 1904 and 1907, BM: The first thing I think of when I translate is what when Germany was a colonial power, when the Hereros sort of questions I can ask that would be meaningful and and the Hottentots rose up against the Germans.
    [Show full text]
  • JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
    Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history.
    [Show full text]
  • Contemporary Japanese Literature in the Japan Foundation Toronto Library
    Contemporary Japanese Literature in The Japan Foundation Toronto Library * In alphabetical order by author and title. Exceptions include same titles in different languages **【 JLJL 】stand for “Japanese Literature for Japanese Learners” Authors A-D Author Title Language Local Call Number 阿部 和重 Deluxe edition [jpn] 895.636 A23 D44 2013 阿部 和重 グランド・フィナーレ = Grand finale [jpn] 895.636 A23 G87 2005 阿部 和重 キャプテンサンダーボルト [jpn] 895.636 A23 K92 2014 阿部 和重 ピストルズ [jpn] 895.636 A23 P57 2010 Abe, Kazushige Projection priveé [fre] 895.636 A23 P75 2000 阿部 和重 IP/NN : 阿部和重傑作集 = Individual Projection Nipponia Nippon [jpn] 895.636 A23 I66 2011 阿部 和重 しかく [jpn] 895.636 A23 S54 2013 Abe, Kazushige Sin semillas : roman [fre] 895.636 A23 S56 2013 阿部 和重 シンセミア : 上・下 = Sin semillas [jpn] 895.636 A23 S54 2013 Abe, Kobo L'arche en toc : roman [fre] 895.635 A23 A72 1987 Abe, Kobo Beyond the curve [eng] 895.635 A23 B49 1991 Abe, Kobo The box man [eng] 895.635 A23 B69 1990 Abe, Kobo Cahier kangourou : roman [fre] 895.635 A23 C33 1995 Abe, Kobo The face of another [eng] 895.635 A23 F32 1992 Abe, Kobo Inter ice age 4 [eng] 895.635 A23 I57 1989 安部 公房 壁 [jpn] 895.635 A23 K32 1969 Abe, Kobo Kangaroo notebook : a novel [eng] 895.635 A23 K36 1996 Abe, Kobo Mort anonyme [fre] 895.635 A23 M67 1994 Abe, Kobo The ruined map [eng] 895.635 A23 R84 1993 Abe, Kobo Secret rendezvous [eng] 895.635 A23 S42 1993 Abe, Kobo The woman in the dunes [eng] 895.635 A23 W65 1991 安部 龍太郎 等伯 : 上・下 [jpn] 895.635 A23 2012 Agawa, Hiroyuki Citadel in spring : a novel of youth spent at war [eng] 895.635
    [Show full text]
  • Harga Sewaktu Wak Jadi Sebelum
    HARGA SEWAKTU WAKTU BISA BERUBAH, HARGA TERBARU DAN STOCK JADI SEBELUM ORDER SILAHKAN HUBUNGI KONTAK UNTUK CEK HARGA YANG TERTERA SUDAH FULL ISI !!!! Berikut harga HDD per tgl 14 - 02 - 2016 : PROMO BERLAKU SELAMA PERSEDIAAN MASIH ADA!!! EXTERNAL NEW MODEL my passport ultra 1tb Rp 1,040,000 NEW MODEL my passport ultra 2tb Rp 1,560,000 NEW MODEL my passport ultra 3tb Rp 2,500,000 NEW wd element 500gb Rp 735,000 1tb Rp 990,000 2tb WD my book Premium Storage 2tb Rp 1,650,000 (external 3,5") 3tb Rp 2,070,000 pakai adaptor 4tb Rp 2,700,000 6tb Rp 4,200,000 WD ELEMENT DESKTOP (NEW MODEL) 2tb 3tb Rp 1,950,000 Seagate falcon desktop (pake adaptor) 2tb Rp 1,500,000 NEW MODEL!! 3tb Rp - 4tb Rp - Hitachi touro Desk PRO 4tb seagate falcon 500gb Rp 715,000 1tb Rp 980,000 2tb Rp 1,510,000 Seagate SLIM 500gb Rp 750,000 1tb Rp 1,000,000 2tb Rp 1,550,000 1tb seagate wireless up 2tb Hitachi touro 500gb Rp 740,000 1tb Rp 930,000 Hitachi touro S 7200rpm 500gb Rp 810,000 1tb Rp 1,050,000 Transcend 500gb Anti shock 25H3 1tb Rp 1,040,000 2tb Rp 1,725,000 ADATA HD 710 750gb antishock & Waterproof 1tb Rp 1,000,000 2tb INTERNAL WD Blue 500gb Rp 710,000 1tb Rp 840,000 green 2tb Rp 1,270,000 3tb Rp 1,715,000 4tb Rp 2,400,000 5tb Rp 2,960,000 6tb Rp 3,840,000 black 500gb Rp 1,025,000 1tb Rp 1,285,000 2tb Rp 2,055,000 3tb Rp 2,680,000 4tb Rp 3,460,000 SEAGATE Internal 500gb Rp 685,000 1tb Rp 835,000 2tb Rp 1,215,000 3tb Rp 1,655,000 4tb Rp 2,370,000 Hitachi internal 500gb 1tb Toshiba internal 500gb Rp 630,000 1tb 2tb Rp 1,155,000 3tb Rp 1,585,000 untuk yang ingin
    [Show full text]
  • The Practices of Japan's Cultural Diplomacy
    THE PRACTICES OF JAPAN’S CULTURAL DIPLOMACY THROUGH THE JAPAN FOUNDATION IN PROMOTING JAPANESE MOVIES IN INDONESIA (2013-2016) By ANDINI YULINDASARI 016201300011 A thesis presented to the Faculty of Humanities, International Relations Study Program President University In partial fulfilment of the requirements for Bachelor Degree in International Relations Major in Diplomacy Studies January 2019 THESIS ADVISER RECOMMENDATION LETTER i DECLARATION OF ORIGINALITY ii PANEL OF EXAMINER APPROVAL SHEET iii ABSTRACT Andini Yulindasari, (016201300011), The Practices of Japan’s Cultural Diplomacy through The Japan Foundation in Promoting Japanese Movies in Indonesia (2013-2016) Advisors: Drs. Teuku Rezasyah, M.A., Ph.D. Practices in diplomacy has been shifting as globalization pushes further the importance of establishing relations between states and its people. This also influence the methods and approaches that are being used by state actors in planning its foreign policy. Most state actors nowadays, if not all, have been actively pursuing its national interest with any means necessary. For Japan, correcting its image it gained from the World War II one of the most important national interests for them as stated in Article 9 of the Constitution of Japan paragraph 1 and 2. One of its ways in order to restore its image into a peace-loving democratic state is to design and plan its public and cultural diplomacy as Japan is rich with cultures both traditional and modern. One of Japan’s institutions that plays an active part in cultural diplomacy is the Japan Foundation. There has been many activities, projects, and programs that the institution has done over the years.
    [Show full text]
  • Salvation—Sons of God
    SALVATION—SONS OF GOD (Inaudible) . our study of salvation from the perspective that we are taking it, which is that it is a study in contrasts and that our interest and concern is eternal life and exaltation and not something less, and that full salvation or salvation, without that modifying term “full” as it is generally used, means exaltation. We have come already to the proposition that there are in the eternities two classes of beings: gods and angels. We arrived at that point yesterday, and we defined and discovered that gods were those who were above that line and that angels were people who were below that line with the difference in status being the presence or the absence of the family union. Gods being people who were married, who lived in the family unit; angels being people who were separate and single without exaltation, and then as the revelation says, in their saved conditions, but not having the fulness. So there are angels to the devil down here—Sons of Perdition. There are angels in a telestial kingdom, angels in a terrestrial [kingdom], and angels in the two lower heavens of the celestial world, with the one degree or other of salvation as indicated by those assignments to kingdoms; gods being exalted beings having a fulness of glory. We defined eternal life as being that which has a continuation of the seeds or eternal increase, plus that which has the fulness of the glory of the Father, becoming like God: “as God now is, man may become.” Well, building on that foundation somewhat, or at least adding to the foundation that we have made, let us take these two columns now and make some contrasts between gods and angels, and we will get some words here that are synonymous with the expression of being gods.
    [Show full text]
  • Kinotayo 2013 — Section Classique — Retour Sur Le Film De
    ittle Girl in Me” Film Partners L 2012 “The © nc. I pache A Film Partners © 2013 “The Great Passage” Film Partners Passage” 2013 “The © Great IES © 2012 L AN AN P JA 8e 3 > 21 © 2012 ÉDITION DÉCEMBRE 2013 第八回 JANVIER 2014 EN RÉGIONS Programme : 22 films dont 7 en compétition Rencontres avec trois réalisateurs FEstivaL Hommage à Yasujiro Ozu : 現 DU FILM JAPonais ses chefs-d’œuvre en couleurs restaurés ContEMPORain Documentaires : culture et société 代 Avant-premières : WWW.KinotaYO.FR WARA NO TATE de Takashi Miike OUtraGE BEYOND de Takeshi Kitano 日 Section classique : retour sur le film de gangster, un genre majeur du cinéma japonais 本 ” Film Partners 映 BLACK DAWN 画 © 2012 “ 祭 tory of Yonosuke” Film Partners Yonosuke” tory of S ueki Ressha Film Partners ueki Ressha A K © 2013 “ © © 2012 © Fidèle à sa volonté de vous faire voyager dans l’actualité MARDI 3 DÉCEMBRE 2013 À 20H du septième art japonais, le Festival Kinotayo, est CÉRÉMONIe d’OUVERTURE DU FEstivaL KINOTAYO 2013 e KINOTAYO 2013 heureux de vous présenter, pour sa 8 édition, 7 longs Avant-PREMIÈRE PARISIENNE métrages de grande qualité, produits et sortis entre AU GAUMONT OPÉRA PREMIER — 2012 et 2013, en sélection officielle pour l’attribution — des Soleils d’Or 2013. ÉDito Plusieurs réalisateurs viendront présenter leur ÉVÉNEMENTS film : Tatsushi Omori pour BOZO (2012), Shoji Kubota pour The Little Girl in Me (2012), et Shuichi Okita pour A Story of Yonosuke (2013). Parallèlement à la sélection officielle, Kinotayo proposera en avant-première au public parisien OUtragE BEyond de Takeshi Kitano. Suite indépen- dante d’OUtragE, ce film de gangster est un huis-clos féroce sur le monde de la pègre qui, fort heureuse- elluloid Dreams ment, ne manque pas d’humour… À cette occasion, C des films marquants de ce genre majeur au Japon sont © 2013 © proposés dans notre section classique initiée en 2012 : La pivoine rouge, Le cimetière de la morale et des œuvres comme Romance noire de Tatsuoki Hosono WARA NO TATE avec Koji Yakusho dans un rôle inattendu de truand en 藁の楯 (wara no tate) mal d’amour.
    [Show full text]
  • ACCS/ACAS/IICJ 2016 Art Center Kobe, Japan Official Conference Proceedings Iafor ISSN: 2187 - 4751
    The International Academic Forum ACCS/ACAS/IICJ 2016 Art Center Kobe, Japan Official Conference Proceedings iafor ISSN: 2187 - 4751 “To Open Minds, To Educate Intelligence, To Inform Decisions” The International Academic Forum provides new perspectives to the thought-leaders and decision-makers of today and tomorrow by offering constructive environments for dialogue and interchange at the intersections of nation, culture, and discipline. Headquartered in Nagoya, Japan, and registered as a Non-Profit Organization 一般社( 団法人) , IAFOR is an independent think tank committed to the deeper understanding of contemporary geo-political transformation, particularly in the Asia Pacific Region. INTERNATIONAL INTERCULTURAL INTERDISCIPLINARY iafor The Executive Council of the International Advisory Board IAB Chair: Professor Stuart D.B. Picken Mr Mitsumasa Aoyama Professor June Henton Professor Baden Offord Director, The Yufuku Gallery, Tokyo, Japan Dean, College of Human Sciences, Auburn University, Professor of Cultural Studies and Human Rights & Co- USA Director of the Centre for Peace and Social Justice Professor Tien-Hui Chiang Southern Cross University, Australia Professor and Chair, Department of Education Professor Michael Hudson National University of Tainan, Taiwan/Chinese Taipei President of The Institute for the Study of Long-Term Professor Frank S. Ravitch Economic Trends (ISLET) Professor of Law & Walter H. Stowers Chair in Law Professor Don Brash Distinguished Research Professor of Economics, The and Religion, Michigan State University College of Law Former Governor of the Reserve Bank, New Zealand University of Missouri, Kansas City Former Leader of the New National Party, New Professor Richard Roth Zealand Professor Koichi Iwabuchi Senior Associate Dean, Medill School of Journalism, Adjunct Professor, AUT, New Zealand & La Trobe Professor of Media and Cultural Studies & Director of Northwestern University, Qatar University, Australia the Monash Asia Institute, Monash University, Australia Professor Monty P.
    [Show full text]
  • Yosano Akiko and the Tale of Genji / G.G
    Yosano Akiko and The Tale ofGenji "Akiko on a Certain Day," from the early years of the Taisho period. Courtesy of Chikuma Shobo Publishing Co., Ltd. Yosano Akiko and The Tale ofGenji G. G. Rowley Ann Arbor 2000 Center for Japanese Studies The University of Michigan Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Copyright © 2000 The Regents of the University of Michigan Published by the Center for Japanese Studies, The University of Michigan 202 S Thayer St., Ann Arbor, MI 48104-1608 Michigan Monograph Series in Japanese Studies Number 28 PERMISSIONS Material for chapter three draws upon an article "Literary Canon and National Iden- tity: The Tale ofGenji in Meiji Japan," Japan Forum 9.1 (1997): 1-15 and is reprinted here with permission of the British Association for Japanese Studies and Routledge. Material for chapter six first appeared in an article "Textual Malfeasance in Yosano Akiko's Shiny aku Genji monogatari" Harvard Journal of Asiatic Studies 58.1 (June 1998): 201-19 and is reprinted here with permission of the editors. Library of Congress Cataloging-in-Publication Data Rowley, Gillian Gaye, 1960- Yosano Akiko and the Tale of Genji / G.G. Rowley. p. cm. — (Michigan monograph series in Japanese studies no. 28) Includes bibliographical references and index. ISBN 0-939512-98-X (cloth : alk. paper) 1. Yosano, Akiko, 1878-1942—Criticism and interpretation. 2. Murasaki Shikibu, b. 978? Genji monogatari. I. Murasaki Shikibu, b. 978? Genji monogatari. II. Title. III. Series. PL819.O8R68 2000 895.6f144—dc21 99-089978 This book was set in Janson Text Jacket design by Seiko Semones This publication meets the ANSI/NISO Standards for Permanence of Paper fo Publications and Documents in Libraries and Archives (Z39.48-1992).
    [Show full text]
  • Ausgeliehene / Vermißte Bücher
    ベルリン日独センター 図書室 Ausgeliehene / vermißte Bücher Inv.Nr. Titel Autorenname Ausgeliehen von 阿部, 昭 2013-265 913 Urlaub für die Ewigkeit : Abe, Akira <BA37337129> Abe Erzählung 17.03.2016 IP/NN : 阿部和重傑作集 阿部, 和重 2018-145 913 IP/NN : Abe Kazushige kessaku shû Abe, Kazushige <BB06325031> Abe 29.05.2018 安部, 公房 2009-43 913 Die Frau in den Dünen Abe, Kôbô NACSIS-CAT Abe (26.10.2009) 安部, 公房 2009-249 913 Die vierte Zwischeneiszeit Abe, Kôbô NACSIS- Abe CAT<BA27733866> 安部, 公房 2009-250 913 Die Erfindung des R 62 ; Abe, Kôbô NACSIS- Abe Erzählungen CAT<BA30878801> 密会 安部, 公房 2013-139 913 Mikkai Abe, Kôbô <BN01501324> Abe 21.01.2016 安部, 公房 2015-363 913 The face of another Abe, Kôbô Abe 砂の女 安部, 公房 2018-244 913 Suna no onna Abe, Kôbô <BN01499765> Abe 12.06.2018 安部, 公房 2019-264 913 Der Schachtelmann Abe, Kôbô Abe 安部, 公房 2015-176 913 Die Känguruhhefte : Roman Abe, Kôbô ; Stalph, Jürgen <BA29458117> Abe (Übers.) 23.06.2015 泣けない魚たち 阿部夏丸 2013-635 913 Nakenai uotachi Abe, Natsumaru <BN13130999> Abe 02.02.2017 Seite 1 ベルリン日独センター 図書室 Ausgeliehene / vermißte Bücher Inv.Nr. Titel Autorenname Ausgeliehen von 等伯 上 安部, 龍太郎 2017-138 913 Tôhaku, Jô Abe, Ryûtarô <BB19521633>30.08. Abe 2017 等伯 下 安部, 龍太郎 2017-139 913 Tôhaku, Ge Abe, Ryûtarô <BB19521633>30.08. Abe 2017 さくら動物病院 相戸, 結衣 2014-244 913 Sakura dôbutsu byôin Aito, Yui <BB16279906> Ait 19.08.2014 赤川, 次郎 2009-185 913 Japanischer Alltag : Akagawa, Jirô <BB01584644>10.01. Aka Kurzgeschichten : Japanisch- 2019 Deutsch 藻屑蟹 赤松, 利市 2019-375 913 Mokuzugani Akamatsu, Riichi <BB28377174>12.05.
    [Show full text]
  • LAAPFF 2015 Catalog
    VISUAL COMMUNICATIONS presents the LOS ANGELES ASIAN PACIFIC FILM FESTIVAL APRIL 23 – 30, 2015 No. 31 LITTLE TOKYO _ KOREATOWN _ WEST HOLLYWOOD SEE YOU NEXT YEAR! CONTENTS 7 Festival Welcome 8 Festival Sponsors 10 Community Partners 12 “About VC” Update for 2015 14 Friends of Visual Communications 16 AWC Indiegogo Supporters 18 Year of The Question of the Year! 26 Why Arthur Dong Still Matters 32 Festival Awards: Past Awardees 36 Festival Award Nominees: Feature Narrative 39 Festival Award Nominees: Feature Documentary 42 Festival Award Nominees: Short Film 48 Programmers’ Recommendations 51 Conference for Creative Content 2015 56 Filmmaker Panels & Seminars 60 Program Schedule 61 Box Office Info 62 Venue Info 63 Parties & Afterhours 65 Festival Galas 75 Festival Special Presentations 83 Artist’s Spotlight: Arthur Dong 87 Narrative Competition Films 97 Documentary Competition Films 107 International Showcase Films 123 Short Film Programs 144 Acknowledgements 146 Print & Tape Sources 150 Title/Artist Index 152 Country Index The Los Angeles Asian Pacific Film Festival • 2 The Los Angeles Asian Pacific Film Festival • 3 The Los Angeles Asian Pacific Film Festival • 4 The Los Angeles Asian Pacific Film Festival • 5 The Los Angeles Asian Pacific Film Festival • 6 WELCOME Welcome to the 31st edition of presentations, we are extremely proud to showcase the Los Angeles Asian Pacific returning, seasoned, and emerging Asian Pacific Film Festival! American and International artists and their stories to After a 5-year absence, Visual our communities throughout the Festival at the JACCC, Communications is excited to Japanese American National Museum, Downtown open the Festival at the Japanese Independent, The Great Company, CGV Cinemas, and American Cultural & Community the Directors Guild of America.
    [Show full text]
  • Ronald Hendel Remembering Abraham Culture, Memory, And
    4 The Exodus in Biblical Memory tradition (which is a product of oblivion and memory) —Jorge Luis Borges, El Aleph Mnemohistory The Exodus from Egypt is a focal point of ancient Israelite religion. Virtually every kind of religious literature in the Hebrew Bible— prose narrative, liturgical poetry, didactic prose, and prophecy—cele- brates the Exodus as a foundational event.1 Israelite ritual, law, and ethics are often grounded in the precedent and memory of the Exo- dus. In the Decalogue, Yahweh identifies himself as the one “who brought you out of the land of Egypt, out of the house of bondage” (Exod 20:2 ϭ Deut 5:6). In the covenantal language of this passage and many others, the deliverance from Egypt is the main historical warrant for the religious bond between Yahweh and Israel; it is the gracious act of the great lord for his people on which rests the su- perstructure of Israelite belief and practice. In some texts (and fea- tured prominently in the Passover Haggadah), the historical distance of the Exodus event is drawn into the present by the elastic quality of genealogical time: “You shall tell your son on that day, ‘It is be- cause of what Yahweh did for me when he brought me out of Egypt’ ” (Exod 13:8; cf. Deut 6:20–25). In its existential actuality, the 58 remembering abraham Exodus, more than any other event of the Hebrew Bible, embodies Faulkner’s adage: “The past is never dead. It’s not even past.”2 Given the centrality of the Exodus, it is not suprising that scholars have expended much energy trying to ascertain its historical content.
    [Show full text]