DOCSLIB.ORG

1 OR 2 THINGS I DON't KNOW ABOUT HIM Playing with DUMMY P37 UK Super16mm 11 Mins Director/Screenplay Maurizio Von Trapp Produc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 OR 2 THINGS I DON’T KNOW ABOUT HIM THE AMBIENT MEDIUM THE BENT PENNY Playing with DUMMY p37 Playing with BLACKSPOT p64 Playing with SENSELESS p39 UK Super16mm 11 mins Director/Screenplay Maurizio Von USA MiniDV 10 mins Director/Producer/Screenplay/DoP UK HDCam 16 mins Director/Screenplay Darrel J Butlin Trapp Producer/DoP Carolina Costa Cast Pedro Reichert, Bill Domonkos Print Source [email protected] Producer Jeremy Vivian DoP Louie Blystad-Collins Cast James Nield Print Source [email protected] Inspired by nineteenth century spirit photography, science fic- Angus Barr, Guy Davies, Kay Curram, Olegar Fedoro Print What is one to do when left alone? Arising questions and sad- tion and paranormal phenomena, The Ambient Medium is the Source [email protected] ness. This is where Guido finds himself and he needs to talk. material surrounding or contacting an organism, through which Three stories are linked by a penny that travels from person to chemicals, energy or pollutants can reach the organism. person. DIRECTIONS DJ:LA EMMA’S LAST DATE Playing with WHO IS KK DOWNEY? p68 Playing with ANÕ UNÃ p56 Playing with ONE DAY REMOVALS p39 Australia Super35 15 mins Director/Screenplay Kasimir USA 4 mins Dir/S’play Jerry Chan Producer/DoP Mitchel UK HD 11 mins Director Chris Thomas Producer Leanne Savill Burgess Producer Chris Kamen DoP Adam Arkapaw Cast Dumlao Print Source [email protected] Screenplay Hugo Simms DoP Chris Bairstow Print Source Greg Muller Print Source [email protected] Remixes the frenzied sights and sounds of the Los Angeles [email protected] A desperate man finds inspiration in a broken shopping trolley. landscape to uncover the rhythm and melody of the city. Poor Emma. Her date is late and she’s been cornered by the pub weirdo. A cautionary tale of dangerous driving, cheesecake and revenge. A FITTING TRIBUTE THE GRAVITY OF BELIEF HOURGLASS Playing with GOLIATH p67 Playing with PRODUCTION OFFICE p67 Playing with NO THROUGH ROAD p47 UK HDCam 14 mins Dir/Prod Daniel Cormack S’play Ben UK Super16 4 mins Director/Producer/Screenplay Martin UK 35mm 8 mins Director/S’play Rory O’Donnell Producer Clover DoP Daniel Cormack, Sam Osborne Cast Sally Bretton, Gooch DoP Pete Rowe Cast Alexandra Beck, Paul Ready Print Rachel Castell, Freddie Connor DoP Jay Mallet Cast Julian Thomas Nelstrop, A Nicholson P/S [email protected] Source [email protected] Glover, Anthony O’Donnell P/S [email protected] A naïve local newspaper reporter on a ‘death-knock’ gets more Ever wonder where all the missing people go? The commission of a lifetime for clockmaker Harold Blake. than he bargains for from the grieving mother of a young road traffic accident victim. SIXTEENTH RAINDANCE FILM FESTIVAL 21 INERTIA KARAOKE LITTLE WHISPERS Playing with WELLNESS p68 Playing with WILD BLUE YONDER p74 Playing with THE END p71 USA MiniDV 2 mins Director/Producer/Screenplay/DoP Germany HDV 16 mins Director/Screenplay Carolina UK HD 10 mins Director/Producer Devlin Crow Screenplay Jake Mahaffy Cast Carl West P/S [email protected] Hellsgard Producer Florian Gerstenberg DoP Manuel Kinzer Kennedy Crow, Devlin Crow DoP Anthony Hays Cast Richard A (very) short film charting the absolute distance, which a man Cast Renate Serwotke Print Source [email protected] Briers, Nicholas Patterson P/S [email protected] can run at full charge while wearing a complete suit of armour. An elderly actress’s desperate search for a new role. A small race of miniature people appear to bring malevolence or is it kindness to a stranger? LOOKING UP DRESSES THE LOST CHILD [L’ENFANT PERDUE] LOVERS’ LANE Playing with CRAWFORD p71 Playing with LEFT EAR p64 Playing with CHRIS AND DON: A LOVE STORY p70 USA 35mm 12 mins Director/Screenplay Jared Ingram France Super16 18 mins Dir Josephine Mackerras Prod J UK HDCam 5 mins Director/Screenplay Guy Ducker Producer Todd Spence DoP Bill Butler Cast Sam Huntington, Mackerras, PF Beauchard, Catherine Zinck S’play J Mackerras, Producer Josh Golding DoP Dan Rack Cast Carl Prekopp, Jlynn Johnson Print Source [email protected] Giles Noel DoP Matthieu-David Cournot Cast Maria Derrien, Katherine Reilly Print Source [email protected] After getting dumped for being ‘too nice’, Jade Williams has until Thomas Courcoul P/S [email protected] Former lovers have a chance encounter on the Thames footpath. the end of a church service to convince his girlfriend he’s actu- Elisabeth starts getting mysterious phone calls, she feels fol- Unable to avoid each other they must face their shared past. ally a wild man. lowed, someone is spying on her. Who is victim here? THE MILKY AUDITION NOSEBLEED ONE CAREFUL OWNER Playing with TURTLES ARE SURPSINGLY FAST… p62 Playing with THE PROJECT p68 Playing with THE MILKY WAY p57 Japan 35mm 8 mins Dir/S’play/DoP Yumi Yoshiyuki Prod USA 35mm 9 mins Director/Screenplay Jeff Vespa UK HDCam 13 mins Dir/S’play Sean Van Hales Prod Rebecca Kunihiko Tomioka P/S [email protected] Producers Jeff Vespa, Bobby Bauer DoP Keith Leman Cast Callas DoP Jon Priddle Cast Denise Van Outen, Dexter Fletcher, Female Pink Film director Yumi Yoshiyuki presents her coloruful David Arquette, Katie McQuerrey P/S [email protected] Tamzin Outhwaite P/S [email protected] homage to a ’70s pop idol. A man tries to get rid of a nosebleed to disastrous effect. Derek’s much loved but unreliable Mark II Ford Capri doesn’t fit in with wife Lynne’s glossy lifestyle of perfect house, personal trainers and trying to stay one step ahead of the neighbours. THE OUTLAW EMMETT DEEMUS TESTUDO VEILS Playing with IT’S ONLY ROCK N’ ROLL (BUT I LIKE…) p46 Playing with PVC-1 p57 Playing with THE BLUE TOWER p34 USA HDV 8 mins Director Stephan Szpak-Fleet Producer France/UK HDV 15 mins Director/Producer/Screenplay UK HD 13 mins Director/Screenplay Dan Susman Producer Larry Hankin, Mark Jones Screenplay Larry Hankin DoP David Jörg Tittel DoP Ian Blumers Cast Alex Helfrecht, Philippine Kirsty Peart, Jane McGee, Taimoor Sobhan DoP Frank Dow Smith Cast Larry Hankin, Eddie McClurg, Paul Willson Print Julia, Jörg Tittel Print Source [email protected] Cast Maureen Lipman Print Source [email protected] Source [email protected] Two estranged parents take their daughters to the zoo, on a des- A story about a Jewish girl and a Palestinian guy on their wed- 70 year-old ‘Outlaw Biker’ Emmett takes on The Law and real perate trip to become a normal, loving family again. ding day. But this is not a standard Romeo & Juliet story of outlaw bikers to protect the weak. forbidden love – there is much more than meets the eye. 22 SIXTEENTH RAINDANCE FILM FESTIVAL FESTIVAL LAUNCH PARTY LIVE!AMMUNITION! & PARTY WEDNESDAY 1 OCTOBER AT 9PM – ORCHID, 13 COVENTRY STREET, W1 MONDAY 6 OCTOBER AT 7PM – BAFTA / THE CLUB [PARTY] Following our opening night film, Choke, at the Cineworld Shaftesbury Have you got a great idea for a movie? This is your chance to pitch your idea Avenue all ticket-holders are invited along to our exclusive party at Orchid, directly to a panel of top film executives. These are the people who matter. supported by Tuaca. Come and have a few complimentary drinks and party They are the people who buy scripts – they are the people who decide with fellow enthusiasts. Tickets are £25. Festival pass-holders get free what will be made and what won’t. Live!Ammunition! is one of Raindance’s admission if they have confirmed and collected their tickets in advance. most popular events and has a strong record of projects being picked up on the night, such as Meet the Parents (1994) and 51st State (1995). To pitch, drop £5 in the hat. The winner takes home all the money. SONY ERICSSON SCREENING & RECEPTION [INVITE ONLY] THURSDAY 2 OCTOBER AT 6.30PM – THE REX Earlier this year Sony Ericsson teamed up with director Mike Figgis to RAINDANCE.TV IPTV PANEL: ONLINE DISTRIBUTION create Life Captured, an exciting competition that encouraged photogra- TUESDAY 7 OCTOBER AT 6:30PM – CINEWORLD 4 phers from around the world to submit their shots to the Sony Ericsson Recently the digital space has seen dramatic changes, with new brands website. The director then utilised a selection of these images in a short and platforms regularly appearing on the web and on mobile. Raindance. film that has its world premiere at this exclusive event. The screening will tv hosts a panel of experts who will explain the impact of the coming para- be followed by a drinks reception in The Rex Bar. Mike Figgis will be in digm shift for independent filmmakers, the role of these platforms, how attendance, along with several of the winning photographers. audience habits have evolved and what revenue models exist and how to maximise them. The panel will be followed by an informal Q&A session. RAINDANCE FILMMAKER’S PARTY FRIDAY 3 OCTOBER AT 8PM – THE REX For all their hard work and dedication, Raindance is throwing a party for every filmmaker with a film in the festival. Each film will receive two tickets. RSVP to [email protected] ahead of time to ensure your spot on the guestlist. Come along, meet your festival peers, and have a great time. SAE FILM & SOUND MASTERCLASS SATURDAY 4 OCTOBER AT 6PM – THE REX As a leader in digital film making education, SAE will provide in-depth seminar of advanced postproduction techniques to those interested in this area of the film industry. This workshop will be followed by a Q&A.
Recommended publications
  • Programmation Septembre 2020

    Programmation Septembre 2020

    Une sélection du meilleur du cinéma de patrimoine par Carlotta Films ! PROGRAMMATION SEPTEMBRE 2020 MIKIO NARUSE RÉALISATEUR DU MOIS 4 fi lms majeurs AU GRÉ DU COURANT (1956) QUAND UNE FEMME MONTE L’ESCALIER (1960) UNE FEMME DANS LA TOURMENTE (1964) NUAGES ÉPARS (1967) UNE FAMILLE DÉVOYÉE ÉVÉNEMENT SPÉCIAL : AVANT-PREMIÈRE EXCEPTIONNELLE un fi lm de Masayuki Suo (1984) - EXCLUSIVITÉ LE VIDÉO CLUB CARLOTTA FILMS (Int. -16 ans) - THE ENDLESS SUMMER DÉJÀ CULTE un fi lm de Bruce Brown (1966) THE EXTERMINATOR (LE DROIT DE TUER) DÉJÀ CULTE un fi lm de James Glickenhaus (1980) A FULLER LIFE DÉCOUVERTES & RARETÉS un fi lm de Samantha Fuller (2013) LE COUSIN JULES DÉCOUVERTES & RARETÉS un fi lm de Dominique Benicheti (1973) LE MONDE SUR LE FIL LE FILM FLEUVE un fi lm de Rainer Werner Fassbinder (1973) LEVIDEOCLUB.CARLOTTAFILMS.COM CARLOTTA FILMS 5-7, imp. Carrière-Mainguet 75011 Paris Tél. : 01 42 24 10 86 LE RÉALISATEUR DU MOIS MIKIO NARUSE DÉCOUVREZ 4 MAGNIFIQUES PORTRAITS DE FEMME PAR L’UN DES PLUS GRANDS CINÉASTES JAPONAIS AU GRÉ DU COURANT QUAND UNE FEMME MONTE L’ESCALIER UNE FEMME DANS LA TOURMENTE NUAGES ÉPARS Longtemps méconnue en Occident, l’œuvre de Mikio Naruse est aujourd’hui élevée au même rang que celle de ses compatriotes Mizoguchi, Ozu et Kurosawa. À partir des années 1950, il se spécialise dans le shomin geki, genre qui vise à dépeindre le quotidien des gens de la classe moyenne. Son œuvre à la fois poétique et réaliste, pleinement ancrée dans son temps, donne à voir de magnifiques portraits de femmes, portés par les plus grandes actrices du cinéma nippon comme Hideko Takamine, sa muse, ou Yoko Tsukasa.
  • The End of Japanese Cinema

    The End of Japanese Cinema

    THE END OF JAPANESE CINEMA TIMES ALEXANDER ZAHLTEN THE END OF JAPA NESE CINEMA studies of the weatherhead east asian institute, columbia university. The Studies of the Weatherhead East Asian Institute of Columbia University w ere inaugurated in 1962 to bring to a wider public the results of significant new research on modern and con temporary East Asia. alexander zahlten THE END OF JAPA NESE CINEMA Industrial Genres, National Times, and Media Ecologies Duke University Press · Durham and London · 2017 © 2017 DUKE UNIVERSITY PRESS All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Text designed by Courtney Leigh Baker Typeset in Arno Pro and Din by Westchester Publishing Ser vices Library of Congress Cataloging- in- Publication Data Names: Zahlten, Alexander, [date] author. Title: The end of Japa nese cinema : industrial genres, national times, and media ecologies / Alexander Zahlten. Description: Durham : Duke University Press, 2017. | Series: Studies of the Weatherhead East Asian Institute, Columbia University | Includes bibliographical references and index. | Description based on print version rec ord and cip data provided by publisher; resource not viewed. Identifiers: lccn 2017012588 (print) lccn 2017015688 (ebook) isbn 9780822372462 (ebook) isbn 9780822369295 (hardcover : alk. paper) isbn 9780822369448 (pbk. : alk. paper) Subjects: lcsh: Motion pictures— Japan— History—20th century. | Mass media— Japan— History—20th century. Classification: lcc pn1993.5.j3 (ebook) | lcc pn1993.5.j3 Z34 2017 (print)
  • Kurosawa Kiyoshi Profile Prepared by Richard Suchenski Articles Translated by Kendall Heitzman Profile

    Kurosawa Kiyoshi Profile Prepared by Richard Suchenski Articles Translated by Kendall Heitzman Profile

    Kurosawa Kiyoshi Profile prepared by Richard Suchenski Articles translated by Kendall Heitzman Profile Born in Kobe in 1955, Kurosawa Kiyoshi became interested in filmmaking as an elementary school student after he saw films by Italian horror filmmakers Mario Bava and Gorgio Ferroni. He formed a filmmaking club in high school and made his first Super 8mm short film, Rokkô, in 1973. Kurosawa continued making short 8mm films as a student at Rikkyô University, where he began to attend classes on cinema taught by Hasumi Shigehiko, the most important film critic and theorist of his era. Hasumi’s auteurist approach and deep admiration for American cinema of the 1950s deeply influenced a generation of Rikkyô students that, in addition to Kurosawa, included Suo Masayuki, Shiota Akihiko, Aoyama Shinji, and Shinozaki Makoto. While still a student, Kurosawa won a prize for his film Student Days at the Pia Film Festival in 1978. After presenting Vertigo College at Pia in 1980, he worked on Hasegawa Kazuhiko’s The Man Who Stole the Sun (1979) and Sômai Shinji’s Sailor Uniforms and Machine Guns (1981). Kurosawa was invited to join the Directors Company, an alternative to the major studios that offered creative freedom to young directors such as Hasegawa and Sômai. Under their auspices, he made his feature film debut with the pink film, The Kandagawa Wars, in 1983. Kurosawa next attempted to work directly for a major studio by directing a Nikkatsu Roman Porno entitled Seminar of Shyness, but the studio rejected the film, claiming that it lacked the requisite love interest. The film was eventually purchased from Nikkatsu and released as The Do-Re-Mi-Fa Girl in 1985, but the incident gave him a reputation as an idiosyncratic character and made securing funding for other studio projects difficult.
  • Unseen Femininity: Women in Japanese New Wave Cinema

    Unseen Femininity: Women in Japanese New Wave Cinema

    UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA by Candice N. Wilson B.A. in English/Film, Middlebury College, Middlebury, 2001 M.A. in Cinema Studies, New York University, New York, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Candice N. Wilson It was defended on April 27, 2015 and approved by Marcia Landy, Distinguished Professor, Film Studies Program Neepa Majumdar, Associate Professor, Film Studies Program Nancy Condee, Director, Graduate Studies (Slavic) and Global Studies (UCIS), Slavic Languages and Literatures Dissertation Advisor: Adam Lowenstein, Director, Film Studies Program ii Copyright © by Candice N. Wilson 2015 iii UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA Candice N. Wilson, PhD University of Pittsburgh, 2015 During the mid-1950s to the early 1970s a subversive cinema, known as the Japanese New Wave, arose in Japan. This dissertation challenges critical trends that use French New Wave cinema and the oeuvre of Oshima Nagisa as templates to construct Japanese New Wave cinema as largely male-centered and avant-garde in its formal aesthetics. I argue instead for the centrality of the erotic woman to a questioning of national and postwar identity in Japan, and for the importance of popular cinema to an understanding of this New Wave movement. In short, this study aims to break new ground in Japanese New Wave scholarship by focusing on issues of gender and popular aesthetics.
  • Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies

    Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies

    Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences.
  • Genre in Asian Cinema: an Introduction

    Genre in Asian Cinema: an Introduction

    Concentric: Literary and Cultural Studies 46.1 March 2020: 3-10 DOI: 10.6240/concentric.lit.202003_46(1).0001 Genre in Asian Cinema: An Introduction Earl Jackson Department of Foreign Languages and Literature Asia University, Taiwan Patrick Noonan Department of Asian Languages and Cultures Northwestern University, USA The concept for this special topic came from a conversation Patrick Noonan and Earl Jackson began at National Chiao Tung University in Taiwan. Patrick gave one lecture on anime at NCTU and one on the films of Yoshida Kiju at National Tsing Hua University. He was also scheduled to give a lecture at NCTU on two Japanese genres: the jidai-geki and the pink film. He did give the lecture, but the evening before, he and Earl had had a long discussion about genres, and they decided that Patrick’s lecture would segue into a conversation between the two of them on the genres they chose. Patrick continued his discussion of jidai-geki, and combined it with the subgenre of yakuza films that also involve swordplay. Earl discussed melodrama, particularly the shift in the political agenda of early postwar melodrama. When the idea of a special issue for Concentric came up, Earl immediately thought of these conversations and suggested “Genre in Asian Cinema” and contacted Patrick. An invitation was sent out and now there are four essays here dealing with different aspects of genre. While we have very specific ideas regarding genre, we did not want to limit the contributions to essays that aligned with our views. In fact, there are essays included that are completely opposed to how we conceive of the categories and perhaps even the stakes involved.
  • Japan Movie Romance

    Japan Movie Romance

    1 / 5 Japan Movie Romance Japanese dramas (also known as J-Dramas) are the bees knees when ... order on some must-see Japanese dramas that romance junkies will enjoy. ... black cape, is afraid of attractive people and only watches horror movies.. rich man, poor woman · yamato nadeshiko shichi henge · last friends · last friends · 福彩中心合作伙伴 · kinkyori renai · Yamapi is the Romantic Leading Man in J- movie .... During the recent past decades, American movies have tended to deliver unnuanced blockbusters laden with special effects or conventional romances with the .... It shows three tales all set in a hospital in Seoul 1942, when Korea was still occupied by Japan, so you see a piece of Korean history too. Fanfiction Romance Boys .... The actor played Kenshin Himura in the samurai film “Rurouni Kenshin.” It's hard to imagine the man who played the battousai in a romantic .... Genres: Comedy, Drama, Food, Romance. One Litre Of Tears (Riki Okamura. Japanese Movie Colorless (2020) Subtitle Indonesia. Release date: September 16 .... JDrama Japanese Sub Home; Drama List; Upcoming Jdrama | Latest Movies 5-ji ... romance, family, human Broadcast network: Fuji TV Related TV shows: Tears .... Looking for heartwarming yet heart-wrenching Japanese romance anime movies? Here are some of the best romance anime movies for you to enjoy. Movie: Blue Spring Ride; Country: Japan ; Release Date: Dec 13, 2014; Duration: 2 hr. Ao Haru Ride (or Blue Spring Ride) is a romance manga by Io Sakisaka .... They have kept the Japanese culture and history alive in this rapidly changing world with very high ... The movie belongs to the drama and romantic genre.
  • Flower of Carnage: the Revenge Films of Meiko Kaji CONTENTS INTRODUCTION

    Flower of Carnage: the Revenge Films of Meiko Kaji CONTENTS INTRODUCTION

    CONTENTS 03 Introduction 04 Becoming Meiko Kaji 08 Rising Star: Breakthrough & Fame 12 The Silent Avenger: Female Convict Scorpion 18 Lady Snowblood: Born for Revenge 23 Goodbye to Film: Double Suicide of Sonezaki 26 Against the grain 27 Afterword 28 Bibliography 29 Acknowledgements & Credits 2 • Flower of Carnage: The Revenge Films of Meiko Kaji CONTENTS INTRODUCTION On March 24, 1947, a baby girl by the name of Masako Ota is born in Tokyo. Twenty-two years later, she is known as Meiko Kaji, a stunningly beautiful actress rapidly making a name for herself in Japanese cinema. She appears in numerous hit films, often playing tough knife and sword wielding outlaws and avengers. Not even thirty years old, and seemingly at the peak of her career, she suddenly largely withdraws from film acting. In 2003 and 2004, Quentin Tarantino’s Kill Bill martial arts action films hit theatres around the A HUISMAN RESEARCH PUBLICATION world to critical acclaim and commercial success. The Kill Bill films are in part inspired by Kaji’s roles Title in Japanese exploitation films of the 1970s. Two Flower of Carnage: The Revenge Films of of Meiko Kaji’s songs appear on the soundtrack. Meiko Kaji Thirty years after playing memorable outlaws bend on revenge and justice, there is a international Research & Author revival of interest in Japan’s exploitation cinema Martijn Huisman and Kaji’s work. © 2017 MARTIJN HUISMAN - ALL RIGHTS RESERVED This essay follows the career of Meiko Kaji, icon of Japanese exploitation cinema. Rather than offering No part of this work may be reproduced, a comprehensive overview of her work - which stored in a retrieval system or transmitted spans hundreds of films and television series - the in any form or by any means, including best known, most intriguing, and most readily being uploaded to any website or platform available films outside of Japan are discussed.
  • Japanese Media Cultures in Japan and Abroad Transnational Consumption of Manga, Anime, and Media-Mixes

    Japanese Media Cultures in Japan and Abroad Transnational Consumption of Manga, Anime, and Media-Mixes

    Japanese Media Cultures in Japan and Abroad Transnational Consumption of Manga, Anime, and Media-Mixes Edited by Manuel Hernández-Pérez Printed Edition of the Special Issue Published in Arts www.mdpi.com/journal/arts Japanese Media Cultures in Japan and Abroad Japanese Media Cultures in Japan and Abroad Transnational Consumption of Manga, Anime, and Media-Mixes Special Issue Editor Manuel Hern´andez-P´erez MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade Special Issue Editor Manuel Hernandez-P´ erez´ University of Hull UK Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Arts (ISSN 2076-0752) from 2018 to 2019 (available at: https://www.mdpi.com/journal/arts/special issues/japanese media consumption). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03921-008-4 (Pbk) ISBN 978-3-03921-009-1 (PDF) Cover image courtesy of Manuel Hernandez-P´ erez.´ c 2019 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND.
  • The Locality and Universality of Media Geijutsu: Beyond“Cool Japan”

    The Locality and Universality of Media Geijutsu: Beyond“Cool Japan”

    The Locality and Universality of Media Geijutsu : Beyond“Cool Japan” 「 メディア芸術 」の地域性と普遍性─"クールジャパン"を越えて 世界メディア芸術コンベンション2011 International Convention on Manga, Animation,Game and Media Art（ ICOMAG） 2011 「メディア芸術」の地域性と普遍性 絡み合っています。 ─"クールジャパン"を越えて この会議ではまず、「メディア芸術 」を日本文化が置かれてい る歴史的過程と関係づけること、また世界の他の地域における ─ 吉岡洋 文化状況と比較することを通して、この概念が含む問題点を明 ─ 確にしたいと考えます。 ─ ［ PART1 ］「メディア芸術」とはいかなる問題であるのか？ ─ ［PART2］日本文化（とりわけマンガやアニメ）が広く世界的に受け ─ 「文化庁メディア芸術祭」は今年で14回目を迎えるわけです 入れられている理由は何か？ が、「メディア芸術」という概念そのものについて根本的に検討 それらにおいて普遍的に共有されている質とは何であるのか？ されるのは、恐らく本会議が最初ではないかと思われます。「メ ─ ディア芸術」という言葉は、かつて批評家の加藤秀俊氏によっ 周知のように今日、日本のゲーム文化、マンガ、アニメなどは て映画作品やテレビ番組のような複製技術・マスメディアを表現 文化の違いを超えて広く世界的に歓迎され、定着しています。日 手段とする芸術について用いられたことがありました［1］が、 本文化は、いわば極めて強い繁殖力を持った「ミーム（文化的遺伝 この用法は一般化することはありませんでした。いずれにせよ 子）」［2］だと言えるでしょう。その理由を単なるエキゾチシズムに 今日「メディア芸術」が担わされている意味は、それとはかなり よるものとして理解できないことは、明白だと思われます。また、 異なります。2001年に制定された「文化芸術振興基本法 」にお 日本文化がこうした新たな美的領域において端的に「すぐれて いては「映画、漫画、アニメーション及びコンピュータその他の いる 」からであると言うだけでは、何も説明したことになりま 電子機器等を利用した芸術 」が「メディア芸術 」として定義さ せん。さらに、そうした卓越性の根拠を日本の伝統的な文化的特 れています。また「文化庁メディア芸術祭」は「アート」「エンター 質の中に求め、日本文化の中にはそもそも今日のデジタルメディ テインメント」「アニメーション」「マンガ 」という4 つの部門か ア時代に適合的な質が存在していたのだと主張しても、それは ら成っています。 日本人の文化的なナショナリズムやナルシシズムを満足させる こうしたことからは、「メディア芸術」がどのような概念であ ことにはなるでしょうが、そうした議論は理論的な考察からは るのかということは明確ではなく、それどころか当惑を感じざ ほど遠いと言わなければなりません。 るをえません。まず「メディア芸術」という語は一見「造形芸術 」 「クールジャパン」と呼ばれている現象が単なる一時的な流行 や「舞台芸術 」のように「芸術」の下位概念であるように思える ではなく、現代日本文化の中に何らかの普遍的に共有可能な質 にもかかわらず、その中に一部門として「アート（芸術）」が含ま が存在するからだとすれば、それはいったい何なのでしょうか？ れています。次に、そこにはゲームなどのエンターテインメント たしかに、そこには「かわいい」という語が示すような一種の幼 や、マンガやアニメーションなど、従来はシリアスな意味での「芸
  • Transnational UK Reception of Contemporary Japanse Horror Film

    Transnational UK Reception of Contemporary Japanse Horror Film

    Access To Thesis. This thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. 7XekdZYefoe\[l[hoj^[i_im^_Y^_iWYY[fj[ZWimehj^o\ehW^_]^[hZ[]h[["ckijX[Z[fei_j[Z_dj^[Kd_l[hi_joe\ I^[ć[bZB_XhWho"m^[h[_jm_bbX[cWZ[WlW_bWXb[\ehXehhem_d]ehYedikbjWj_ed_dWYYehZWdY[m_j^Kd_l[hi_joH[]kbWj_edi$ 7bbijkZ[djih[]_ij[h_d]\hec(&&.¸&/edmWhZiWh[Wbieh[gk_h[ZjeikXc_jWd[b[Yjhed_YYefoe\j^[_hÅdWb"Wffhel[Z j^[i_i$IjkZ[djim^eh[]_ij[h[Zfh_ehje(&&.¸&/cWoWbieikXc_j[b[Yjhed_YWbbo"Xkjj^_i_idejh[gk_h[Z$ Aimee Richmond School of East Asian Studies 7kj^eh0$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ :[fj0$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ Transnational UK Reception of Contemporary Japanese Horror Film 090210141 J^[i_iJ_jb[0$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ H[]_ijhWj_edDe0$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ For completion by all students: IkXc_j_dfh_dj\ehcedbo\ehZ[fei_j_dj^[Kd_l[hi_joB_XhWho0 IkXc_j_dfh_dj\ehcWdZWbiekfbeWZjej^[White Rose

  • The Body and Japanese Cinema

    THE BODY AND JAPANESE CINEMA Ana Došen A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Faculty of Media and Communications Singidunum University 2017 ©2017 Ana Došen All rights reserved Faculty of Media and Communications Singidunum University CERTIFICATE OF APPROVAL __________________________________ This is to certify that Ph.D. thesis of Ana Došen has been approved by the Examining Committee For the thesis requirement for the degree of Doctor of Philosophy Thesis committee: _______________________________________________ Dr Aneta Stojnić, thesis supervisor (Faculty of Media and Communications, Singidunum University) _______________________________________________ Dr Jovan Čekić, member (Faculty of Media and Communications, Singidunum University) _______________________________________________ Dr Zoran Skrobanović, member (Faculty of Philology, University of Belgrade) ABSTRACT OF THE DISSERTATION The Body and Japanese Cinema By Ana Došen The dissertation The Body and Japanese Cinema examines the notion of body in context of Japanese culture, specifically in a film domain. Throughout this study converging the cultural and philosophical models of both East and West, the focus is on various aspects of the body perception generated and mediated in Japan. This dissertation is the first attempt in Serbian scholarship, on Japanese cinema, to explore the corporeal perspective of Japanese identity. The first part of the dissertation features an extended analysis of the Japanese cultural outlook