DOCSLIB.ORG

Spectacle Theater

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SUN MON TUES Wed thurs fri SAT 25 26 27 28 29 30 1 SPECTACLE 5:00 THE SNOW WOMAN 7:30 IDOL IS DEAD/ SANGUIVOROUS 10:00 WOMAN OF MUD Midnight SCREAM BLOODY MURDER 2 3 4 5 6 7 8 3:00 7:30 7:30 7:30 7:30 7:30 5:00 FIST CHURCH DARK WATERS tetsudon: The abcs of folies meurtrieres the ape woman NOTHING CAN TURN INTO THE GUARD FROM UNDERGROUND A VOID - PEOPLE LIKE US fool japan 7:30 5:00 EXOTIC DIRECTOr Q&A! MADELeINE, STUDY OF 10:00 10:00 10:00 10:00 10:00 CHANGE ITSELF - 10:00 A NIGHTMARE Déjà vu affairs within walls the guard from go go second time GENESIS P. ORRIDGE WHAT’S REVENGE? lost & forgotten cinema underground virgin DIRECTOr in person! DIRECTOr Q&A! 7:30 ECSTASY OF THE ANGELS Midnight Midnight Contemporary underground special events DAYDREAM VIOLATED ANGELS • 9 10 11 12 13 14 15 3:00 7:30 7:30 7:30 7:30 7:30 & 10:00 5:00 BLOOD BRUNCH GO GO SECOND TIME THE SNOW WOMAN WOMAN OF MUD DARK WATERS BORBETOMAGUS: mansion of madness VIRGIN A Pollock of Sound director in person! 7:30 5:00 EXOTIC DIRECTOr Q&A! BAKENEKO: A 10:00 10:00 10:00 10:00 VENGEFUL SPIRIT THE EMBRYO HUNTS IN VIOLATED ANGELS MADELeINE, STUDY OF THE GUARD FROM Midnight 10:00 SECRET A NIGHTMARE scream bloody murder WHAT’S REVENGE? UNDERGROUND DIRECTOr Q&A! 7:30 BORO IN THE BOX Midnight daydream 16 17 18 19 20 21 22 3:00 - 5:00P 7:30 7:30 7:30 7:30 7:30 5:00 CLOSED IDOL IS DEAD/ Déjà vu DAYDREAM ecstasy of the angels BAKENEKO: A madeleine, study of SANGUIVOROUS VENGEFUL SPIRIT a nightmare 7:30 7:30 10:00 10:00 10:00 10:00 10:00 affairs within walls THE EMBRYO HUNTS IN THE SNOW WOMAN THE APE WOMAN optic nerves boro in the box mansion of madness SECRET ONE NIGHT ONLY! 10:00 go go second time virgin Midnight Midnight woman of mud scream bloody murder 23 24 25 26 27 28 29 3:00 8:00 7:30 7:30 8:00 7:30 BLOOD BRUNCH Match cuts presents: idol is dead/ boro in the box (In)Visible: An Evening ecstasy of the angels Yvonne Rainer’s sanguivorous of Cineradiography shriek show 5:00 Privilege 10:00 10:00 the ape woman 10:00 mansion of madness folies meurtrieres IV dark waters 7:30 tetsudon: The abcs of Midnight fool japan violated angels 30 31 1 2 3 4 5 3:00 7:30 FIST CHURCH BAKENEKO: A VENGEFUL SPIRIT 5:00 Déjà vu 7:30 10:00 October 2016 affairs within walls folies meurtrieres 124 S. 3RD St. • BROOKLYN, NY On the cover: $5 MOVIES • $10 special events SANCTUS 7 days a week Folies Meurtrieres, Antoine Pellissier, 1984 SHRIEK SHOW IV Tetsudon: The ABCs Of Fool Japan, Various, 2016 SPECTOBER V SHRIEK SHOW VI TIDEPOINT PICTURES: WEIRD WORLDS For the fifth year, Spectacle is proud to present a month-long, lovingly-selected ALL DAY 10/29 • $5 PER FILM, $25 FOR THE DAY Specializing in bringing contemporary and cutting-edge Asian films to North series of unknown, mysterious, and shocking films from around the world. Crunch a leaf, smash a pumpkin, key a car - the time is at hand! Tricks, treats, American audiences, Tidepoint turns 20 this year. In the spirit of Halloween, and everything in between - post up for 12ish (probably 14) hours of cerebellum- Spectacle presents a selection of Tidepoint films that go beyond (or directly THE MANSION OF MADNESS: Dir. Juan Lopez Moctezuma, 1973, Mexico, 99 min. boiling insanity with your favorite Spectaghouls. This year we have the premiere mock) typical JHorror while showcasing their diverse catalogue. 10/15 5:00p • 10/21 10:00p • 10/26 10:00p of Appalachian satanists, more midnight madness presented by Negative We enter into a place where political satire and surrealist horror blend into a Pleasure, rare and secret archival prints from Radical Hardware, as well as IDOL IS DEAD/SANGUIVOROUS: Dir. Yukihiro Katô/ Naoki Yoshimoto, 2012/2011. truly astonishing film. Led by the great Claudio Brook, the film is as a dream, the usual who’s who of fiendish friends, shorts, songs, and surprises. After five Japan, 120 min. In Japanese, with English subtitles. a ritual, a series of living tableaux. No less than Leonora Carrington served as years strong this one is truly one for the books. Don’t miss out! 10/1 7:30p • 10/17 7:30p • 10/25 7:30p art director. We are honored to present this film in its longest known cut, with SANGUIVOROUS is an impressionist fever dream of a young woman’s realization the original English dialogue, miles from public domain cuts. Those expecting OPTIC NERVES she’s related to an ancient vampire clan. It screens with IDOL IS DEAD, a cheap horror will be disappointed; those expecting clarity will be confused, 10/19 10:00p ONE SCREENING ONLY! perfect showcase for real-life J-pop anti-idol group BiS (Born idol Society). those with eyes to see will behold a revelation. The Imagine Science Film Festival exists to go beyond the expectations of After not-so-accidentally dispatching their more successful rivals in a rumble traditional science documentary or sci-fi conventions. Even within this, some of gone wrong, BiS realize they can turn murder-lemons into success-lemonade FOLIES MEURTRIERES: Dir. Antoine Pellissier, 1984, France, 47 min. the most exciting and unique works received are those which most resolutely by posing as the now-dead group. They’re going to claw their way to stardom 10/5 7:30p • 10/28 10:00p • 10/31 10:00p defy categorization or definition. For these films, we’ve created OPTIC NERVES. one supermarket opening at a time, and the only thing that can stop them is the FOLIES MEURTRIERES is the slasher boiled down to a dead-eyed late-night Sometimes disorienting, often visually arresting, always surprising. Join us for a resurrected, extremely pissed lead singer of the original group. Featuring gore, trance, all VHS tape hiss, HG Lewis-style gore effects and zero character program of mysterious optical experiments, traumatic medical experiences, and depravity, and the bubbliest J-pop this side of a knife fight. development or comic relief. Anyone looking for a well-written mimetically sci-fi avant-garde reflections on identity in a post-digital age. plausible story won’t find it here: this is homemade murderdrone haze. WOMAN OF MUD (ANG BABAENG PUTIK): Dir. Rico Maria Ilarde, 2000, Information on this film is sparse, but director Pellissier’s day job is medical Phillipines, 105 min. In Filipino/Tagalog with English subtitles. examiner, fitting for a film closer to Grand Guignol than the action-film-jump- (IN)VISIBLE: AN EVENING OF 10/1 10:00p • 10/12 7:30p • 10/21 MIDNIGHT 5:00p scare world of contemporary horror. MOVING IMAGE X-RAYS Medical student/Olympic-level archer Mark just wants to get away from it all 10/27 8:00p LIVE SCORE • ONE NIGHT ONLY! to focus on his true passion, writing horror. But when he finally hikes to his THE APE WOMAN: Dir. Marco Ferreri, 1964, Italy/France, 92 min. SANCTUS: Dir. Barbara Hammer, 1990, USA, 20 min. uncle’s house in the boondocks, he’s struck with severe writer’s block. As 10/6 7:30p • 10/18 10:00p • 10/23 5:00p THE FALL OF THE HOUSE OF USHER: Dir. James Sibley Watson & thanks for rescuing him from the local junta, a magician gives Mark a magic A woman born with hair covering her body is exploited by a man planning to use Melville Webber, 1928, USA, 13 min. seed he promises will answer Mark’s needs. It grows into a beautiful, mute her as a freak attraction. MOVEMENT OF THE JOINTS BY CINERADIOGRAPHY: Dir. Nuffield Institute muse he dubs Sally. But soon, local villagers disappear, and Mark notices Sally for Medical Research Oxford, 1945, UK, 16 min. prefers raw meat to his delicious dishes…An underseen creature-feature gem MADELEINE, STUDY OF A NIGHTMARE: Dir. tRoberto Mauri, 1974, Italy, 110 min. featuring excellent gore effects. 10/2 5:00p • 10/12:10:00p • 10/22 5:00p In 1990, experimental filmmaker Barbara Hammer found previously unopened 35 mm nitrate films made by a physician in the 1950s. The program will Camille Keaton stars in a story of a woman unable to directly acknowledge deep THE GUARD FROM UNDERGROUND: Dir. Kiyoshi Kurosawa, 1992, Japan, 96 min. personal trauma, but trying to; her efforts mostly take the form of swanning feature three rarely seen films: SANCTUS, an exploration of the experiments In Japanese, with English subtitles. around a gorgeous Italian villa seducing one man after another. And yet, the in moving image X-rays conducted by Dr. James Sibley Watson; a horror 10/5 10:00p • 10/8 5:00p • 10/13 10:00p increasing sense her will is not her own, that her mysterious husband/lover/ film–an adaptation of an Edgar Allan Poe story; a medical tutorial, never Art historian Akiko begins her new job at a vaguely defined corporation the same benefactor isn’t acting benevolently, turns what could have been mere softcore before screened, created at Oxford University. The film will be accompanied by day as an immense security guard, who happens to match the description of a into a haunting look at a woman struggling with her own id, and losing.
Recommended publications
  • GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability

    GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability

    Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
  • Cine Japonés: Tradición Y Condicionantes Creativos Actuales

    Cine Japonés: Tradición Y Condicionantes Creativos Actuales

    Historia y Comunicación Social ISSN: 1137-0734 Vol. 7 (2002) 253-266 Cine japonés: Tradición y condicionantes creativos actuales. Una revisión histórica ANA MARÍA SEDEÑO VALDELLÓS RESUMEN El artículo trata de resumir las fases fundamentales del cine nipón, desde su naci- miento documental a finales del siglo XIX hasta los inicios del nuevo milenio. Se des- criben y ordenan las etapas básicas de su desarrollo, se buscan las causas históricas, sociales y culturales que explican la especial configuración de una filmografía incom- parable, exótica y, a la vez, tan cercana, una de los más prestigiosas del panorama ci- nematográfico mundial. ABSTRACT This article tries to sum up the basic phases of japanese cinematography, from its origin at the end of the niniteen century to the beginning of this millenium. The essen- tial stages are described and put in order, the historical, social and cultural reasons are searched. They all expound the special shape of this exotic cinema, one of the worthier in the world scene. 1. INTRODUCCIÓN En el presente artículo van a repasarse algunos de los acontecimientos his- tóricos que han condicionado el cine del país del sol naciente: elementos de la tradición más ancestral, imperialismos económicos y burocráticos... Todo esto ha marcado una de las industrias más prolíficas del mundo, absolutamente misteriosa para la mayoría de los habitantes del planeta y de la que los críticos y expertos cinematográficos no ha visto ni la mitad de la producción existente, mientras la otra parte es inaccesible (duerme en cinematecas remotas) o ha de- saparecido. Una cinematografía compleja llena de matices estilísticos y con una extraordinaria variedad de géneros, subgéneros y temas que han evolucionado rápidamente en el último siglo bajo dos estigmas históricos: el gran peso de la 253 Ana M.a Sedeño Valdellós Cine japonés: Tradición y condicionantes creativos actuales tradición, folklore y hábitos sociales nipones y la necesidad de un vínculo co- mercial con la industria occidental, sobre todo desde la ocupación norteameri- cana de la posguerra.

  • Masaaki Hatsumi and Togakure Ryu

    How Ninja Conquered the World THE TIMELINE OF SHINOBI POP CULTURE’S WORLDWIDE EXPLOSION Version 1.3 ©Keith J. Rainville, 2020 How did insular Japan’s homegrown hooded set go from local legend to the most marketable character archetype in the world by the mid-1980s? VN connects the dots below, but before diving in, please keep a few things in mind: • This timeline is a ‘warts and all’ look at a massive pop-culture phenomenon — meaning there are good movies and bad, legit masters and total frauds, excellence and exploitation. It ALL has to be recognized to get a complete picture of why the craze caught fire and how it engineered its own glass ceiling. Nothing is being ranked, no one is being endorsed, no one is being attacked. • This is NOT TO SCALE, the space between months and years isn’t literal, it’s a more anecdotal portrait of an evolving phenomenon. • It’s USA-centric, as that’s where VN originates and where I lived the craze myself. And what happened here informed the similar eruptions all over Europe, Latin America etc. Also, this isn’t a history of the Japanese booms that predated ours, that’s someone else’s epic to outline. • Much of what you see spotlighted here has been covered in more depth on VintageNinja.net over the past decade, so check it out... • IF I MISSED SOMETHING, TELL ME! I’ll be updating the timeline from time to time, so if you have a gap to fill or correction to offer drop me a line! Pinholes of the 1960s In Japan, from the 1600s to the 1960s, a series of booms and crazes brought the ninja from shadowy history to popular media.
  • Screwball Syll

    Screwball Syll

    Webster University FLST 3160: Topics in Film Studies: Screwball Comedy Instructor: Dr. Diane Carson, Ph.D. Email: [email protected] COURSE DESCRIPTION: This course focuses on classic screwball comedies from the 1930s and 40s. Films studied include It Happened One Night, Bringing Up Baby, The Awful Truth, and The Lady Eve. Thematic as well as technical elements will be analyzed. Actors include Katharine Hepburn, Cary Grant, Clark Gable, and Barbara Stanwyck. Class involves lectures, discussions, written analysis, and in-class screenings. COURSE OBJECTIVES: The purpose of this course is to analyze and inform students about the screwball comedy genre. By the end of the semester, students should have: 1. An understanding of the basic elements of screwball comedies including important elements expressed cinematically in illustrative selections from noteworthy screwball comedy directors. 2. An ability to analyze music and sound, editing (montage), performance, camera movement and angle, composition (mise-en-scene), screenwriting and directing and to understand how these technical elements contribute to the screwball comedy film under scrutiny. 3. An ability to apply various approaches to comic film analysis, including consideration of aesthetic elements, sociocultural critiques, and psychoanalytic methodology. 4. An understanding of diverse directorial styles and the effect upon the viewer. 5. An ability to analyze different kinds of screwball comedies from the earliest example in 1934 through the genre’s development into the early 40s. 6. Acquaintance with several classic screwball comedies and what makes them unique. 7. An ability to think critically about responses to the screwball comedy genre and to have insight into the films under scrutiny.
  • Gender and the Family in Contemporary Chinese-Language Film Remakes

    Gender and the Family in Contemporary Chinese-Language Film Remakes

    Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience.
  • Pass the Gravy by Steve Massa

    Pass the Gravy by Steve Massa

    Pass the Gravy By Steve Massa Max Davidson had appeared in movies since the early teens – act- ing at Biograph, supporting Fay Tincher in her Komic Comedy and Fine Arts comedy, and briefly headlining in his own Izzy Come- dies” – usually portraying stereo- typical Jewish tailors and mer- chants. After scoring a notable success co-starring with Jackie Coogan in the features “The Rag Man” and “Old Clothes” (both 1925) he was hired by producer Hal Roach to be part of his stable of supporting comedians. Proving himself in the service of Roach star comics Cuckoos” (1927) introductory description of “Love’s such as Stan Laurel, Charley Chase, and Mabel Greatest Mistake.” Screen freckles usually denote Normand in the shorts “Get ‘Em Young,” “Long Fliv fresh and fun-loving characters, but Spec’s spots the King” (both 1926), and “Anything Once” (1927), came with an icy heart, a malevolent grin, and Max was bumped up to the leading role in his own beady eyes that loved to see his screen father series and given the opportunity to flesh out his squirm. standard screen persona. The first entries were di- rected by Leo McCarey, then director-general of the In contrast to his sons like Spec, Max’s screen Roach Studio, who laid the ground work with shorts daughters are always his pride and joy, but still such as “Why Girls Say No,” “Jewish Prudence,” cause him a lot of aggravation, particularly when “Don’t Tell Everything,” and “Should Second they take up with boys he doesn’t approve of or as- Husbands Come First?” (all 1927).
  • Filmography of Case Study Films (In Chronological Order of Release)

    Filmography of Case Study Films (In Chronological Order of Release)

    FILMOGRAPHY OF CASE STUDY FILMS (IN CHRONOLOGICAL ORDER OF RELEASE) Kairo / Pulse 118 mins, col. Released: 2001 (Japan) Director: Kiyoshi Kurosawa Screenplay: Kiyoshi Kurosawa Cinematography: Junichiro Hayashi Editing: Junichi Kikuchi Sound: Makio Ika Original Music: Takefumi Haketa Producers: Ken Inoue, Seiji Okuda, Shun Shimizu, Atsuyuki Shimoda, Yasuyoshi Tokuma, and Hiroshi Yamamoto Main Cast: Haruhiko Kato, Kumiko Aso, Koyuki, Kurume Arisaka, Kenji Mizuhashi, and Masatoshi Matsuyo Production Companies: Daiei Eiga, Hakuhodo, Imagica, and Nippon Television Network Corporation (NTV) Doruzu / Dolls 114 mins, col. Released: 2002 (Japan) Director: Takeshi Kitano Screenplay: Takeshi Kitano Cinematography: Katsumi Yanagijima © The Author(s) 2016 217 A. Dorman, Paradoxical Japaneseness, DOI 10.1057/978-1-137-55160-3 218 FILMOGRAPHY OF CASE STUDY FILMS… Editing: Takeshi Kitano Sound: Senji Horiuchi Original Music: Joe Hisaishi Producers: Masayuki Mori and Takio Yoshida Main Cast: Hidetoshi Nishijima, Miho Kanno, Tatsuya Mihashi, Chieko Matsubara, Tsutomu Takeshige, and Kyoko Fukuda Production Companies: Bandai Visual Company, Offi ce Kitano, Tokyo FM Broadcasting Company, and TV Tokyo Sukiyaki uesutan jango / Sukiyaki Western Django 121 mins, col. Released: 2007 (Japan) Director: Takashi Miike Screenplay: Takashi Miike and Masa Nakamura Cinematography: Toyomichi Kurita Editing: Yasushi Shimamura Sound: Jun Nakamura Original Music: Koji Endo Producers: Nobuyuki Tohya, Masao Owaki, and Toshiaki Nakazawa Main Cast: Hideaki Ito, Yusuke Iseya, Koichi Sato, Kaori Momoi, Teruyuki Kagawa, Yoshino Kimura, Masanobu Ando, Shun Oguri, and Quentin Tarantino Production Companies: A-Team, Dentsu, Geneon Entertainment, Nagoya Broadcasting Network (NBN), Sedic International, Shogakukan, Sony Pictures Entertainment (Japan), Sukiyaki Western Django Film Partners, Toei Company, Tokyu Recreation, and TV Asahi Okuribito / Departures 130 mins, col.
  • Newsletter 09/07 DIGITAL EDITION Nr

    Newsletter 09/07 DIGITAL EDITION Nr

    ISSN 1610-2606 ISSN 1610-2606 newsletter 09/07 DIGITAL EDITION Nr. 206 - April 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 09/07 (Nr. 206) April 2007 editorial Hallo Laserdisc- und DVD-Fans, und Fach. Wie versprochen gibt es dar- diesem Editorial auch gar nicht weiter liebe Filmfreunde! in unsere Reportage vom Widescreen aufhalten. Viel Spaß und bis zum näch- Es hat mal wieder ein paar Tage länger Weekend in Bradford. Also Lesestoff sten Mal! gedauert, aber nun haben wir Ausgabe satt. Und damit Sie auch gleich damit 206 unseres Newsletters unter Dach beginnen können, wollen wir Sie mit Ihr LASER HOTLINE Team LASER HOTLINE Seite 2 Newsletter 09/07 (Nr. 206) April 2007 US-Debüt der umtriebigen Pang-Brüder, die alle Register ihres Könnens ziehen, um im Stil von „Amityville Horror“ ein mit einem Fluch belegtes Haus zu Leben zu erwecken. Inhalt Roy und Denise Solomon ziehen mit ihrer Teenager-Tochter Jess und ihrem kleinen Sohn Ben in ein entlegenes Farmhaus in einem Sonnenblumenfeld in North Dakota. Dass sich dort womöglich übernatürliche Dinge abspielen könnten, bleibt von den Erwachsenen unbemerkt. Aber Ben und kurz darauf Jess spüren bald, dass nicht alles mit rechten Dingen zugeht. Weil ihr die Eltern nicht glauben wollen, recherchiert Jess auf eigene Faust und erfährt, dass sich in ihrem neuen Zuhause sechs Jahre zuvor ein bestialischer Mord abgespielt hat. Kritik Für sein amerikanisches Debüt hat sich das umtriebige Brüderpaar Danny und Oxide Pang („The Eye“) eine Variante von „Amityville Horror“ ausgesucht, um eine amerikanische Durchschnittsfamilie nach allen Regeln der Kunst mit übernatürlichem Terror zu überziehen.
  • JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021)

    JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021)

    H-Japan JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021) Discussion published by Joel Neville Anderson on Friday, August 13, 2021 Dear H-Japan subscribers, The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the hybrid 15th edition of the festival, slated for August 20 - September 2, 2021: https://www.japansociety.org/arts-and-culture/films/japan-cuts-festival-of-new-japanese-film Films will again be available to rent via video streaming (across the U.S., with some titles accessible worldwide), in addition to select in-person screenings at Japan Society in NYC following health and safety policies. Expanding the festival’s reach beyond New York, the lineup includes 27 features and 12 short films. The exclusive selection will be supplemented with recorded introductions from filmmakers and live video discussions via social media channels to maintain the festival’s sense of community and dedication to intercultural communication. The Centerpiece Presentation is WIFE OF A SPY (dir. Kiyoshi Kurosawa), awarding the 2021 CUT ABOVE Award for Outstanding Achievement in Film to Yu Aoi. Along with the Feature Slate, Classics, Documentary Focus, Experimental Spotlight, and Shorts Showcase, the second edition of the Next Generation section highlighting independently produced narrative feature films by emerging directors will be juried by film scholar Kyoko Hirano; Brian Hu, Artistic Director of Pacific Arts Movement; and Japanese film subtitler and translator Don Brown, awarding the Obayashi Prize. Please browse the entire dynamic lineup on the website, listed below by program section: FEATURE SLATE - Aristocrats (dir.
  • Print 2021.1.5 Updated

    Print 2021.1.5 Updated

    BIOGRAPHY Ryo Kase Ryo Kase was born on November 9, 1974 in Kanagawa, Japan. Shortly after birth his family moved to Washington, United States, where he spent most of his childhood. Kase began his acting career in 2000 and gained his first starring role in Kazuyoshi Kumakiri’s Antenna (2004). He then went on to work with several internationally renowned Japanese film directors, including Takashi Kitano, Hirokazu Koreeda and Kiyoshi Kurosawa. His first appearance in an International film was Clint Eastwood’s Letters from Iwo Jima (2006). He continued to appear in several high-profile international films including Gus Van Sant’s Restless (2011), Abbas Kiarostami’s Like Someone in Love (2012), Hong Sang-soo’s Hill of Freedom (2014), Martin Scorsese’s Silence (2017) and Bel canto (2018). He is a recipient of multiple awards, including a nomination for Japan Academy Award, Blue Ribbon Award, Hochi Film Award and Asian Film Award. 5.January.2021 FILMOGRAPHY <MOVIE> 2020 MINAMATA Andrew Levitas The Works and Days C.W. Winter, Anders Edström (of Tayoko Shiojiri in the Shiotani Basin) 2019 TO THE ENDS OF THE EARTH Kiyoshi Kurosawa 2018 Bel Canto Dir. Paul Weitz LYING TO MOM (aka The Suzuki Family’s Lie.) Dir. Katsumi Nojiri Mori, The Artist’s Habitat Dir. Shuichi Okita 2017 Moonlight Shimo Ochiai Dir. Tasuku Emoto March comes in like a lion Dir. Keishi Otomo SILENCE Dir. Martin Scorsese 2016 Azumi Haruko wa Yukue Fumei Dir. Daigo Matsui 2015 FOUJITA Dir. Kohei Oguri Our Little Sister Dir. Hirokazu Koreeda 2014 Hill of Freedom Dir. Hong Sang-Soo My Hawaiian Discovery Dir.
  • The Phenomenological Aesthetics of the French Action Film

    The Phenomenological Aesthetics of the French Action Film

    Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema.
  • Film Genre Moving Image Arts

    Film Genre Moving Image Arts

    NEW REVISED GCSE FILM GENRE MOVING IMAGE ARTS 1 Film Genre CONTENTS INTRODUCTION 3 Genre Fact Sheet: HORROR 5 THE WESTERN 8 ACTION/ADVENTURE 11 ROMANTIC COMEDY 14 SCIENCE FICTION 17 CRIME 20 2 Genre: INTRODUCTION 3 The study of genre underpins the entire GCSE Moving Image Arts Course. Students will be expected to recognise specific film genre conventions from the specification’s set list of six core genres, and also to use them in their own creative practice. The current list of set core genres is: • Horror; • Western; • Action/Adventure; • Romantic Comedy; • Science Fiction; • Crime. CCEA will review the list of set genres every two years. Students should be able to recognise and identify the following characteristic elements within each of the set genres: Element Description Iconography Genre films can be identified by key iconic images. Setting Some genres have a distinct location or time period associated with them. Narrative Genre films employ specific story structures and narrative devices. Characters Some characters are associated with particular genres and can attain the status of generic types. Style Genre films can be identified by specific visual and audio techniques. Theme Genre films often have characteristic themes. This booklet contains fact sheets on each of the six set genres and provides some examples of genre specific conventions and characteristics. Some recommended films for each genre are also listed. 4 Genre and the Audience Students should be able to recognise the role of audience and how it informs the storytelling styles and conventions followed by the set genres. It should be clear to students what type of audiences certain genres are primarily aimed at.