Cinefiles Document #31470

Total Page：16

File Type：pdf, Size：1020Kb

Document Citation Title Mikio Naruse: a master of the Japanese cinema Author(s) Source American Film Institute Date 1985 Mar 08 Type program Language English Pagination 8-10 No. of Pages 3 Subjects Naruse, Mikio (1905-1969), Yotsuya, Tokyo, Japan Film Subjects Hideko no shasho-san (Hideko the bus conductress), Naruse, Mikio, 1941 Meshi (Repast), Naruse, Mikio, 1951 Inazuma (Lightning), Naruse, Mikio, 1952 Hikinige (Hit and run), Naruse, Mikio, 1966 Hataraku ikka (The whole family works), Naruse, Mikio, 1939 Koshiben gambare (Flunky, work hard!), Naruse, Mikio, 1931 Otome-gokoro sannin shimai (Three sisters with maiden hearts), Naruse, Mikio, 1935 Tsuruhachi Tsurujiro (Tsuruhachi and Tsurujiro), Naruse, Mikio, 1938 Tsuma yo bara no yo ni (Wife! Be like a rose!), Naruse, Mikio, 1935 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) Onna ga kaidan o agaru toki (When a woman ascends the stairs), Naruse, Mikio, 1960 Midaregumo (Scattered clouds), Naruse, Mikio, 1967 Yama no oto (Sound of the mountain), Naruse, Mikio, 1954 Ukigumo (Floating clouds), Naruse, Mikio, 1955 Iwashigumo (Summer clouds), Naruse, Mikio, 1958 Ani imoto (Older brother, younger sister), Naruse, Mikio, 1953 Midareru (Yearning), Naruse, Mikio, 1964 Tsuma to shite onna to shite (As a wife, as a woman), Naruse, Mikio, 1961 Horoki (Her lonely lane), Naruse, Mikio, 1962 Nagareru (Flowing), Naruse, Mikio, 1956 Bangiku (Late chrysanthemums), Naruse, Mikio, 1954 Fûfu (Husband and wife), Naruse, Mikio, 1953 Okasan (Mother), Naruse, Mikio, 1952 Kimi to wakarete (Apart from you), Naruse, Mikio, 1933 Kagirinaki hodo (Street without end), Naruse, Mikio, 1934 Yogoto no yume (Every night dreams), Naruse, Mikio, 1933 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code).

Copy Link

Recommended publications

Nature in Kawabata's Writings Ss.Pdf
NATURE IN KAWABATA’S WRITINGS Selected Secondary Sources His own cosmos ―While every novelist endeavors to create a proper setting for his novel, Kawabata seems to have been especially careful in preparing a cosmos uniquely his own. In these worlds of Kawabata‘s, some of the commonest words come to have special meanings, though they may vary somewhat from one reader to another. There emerges a tension between the generality of the word and the specifics of the context, and that tension becomes a source of stimulation for the reader‘s fancy.‖ --Ueda, Modern Japanese Writers, 213 Wide margins of canvas of life (moths, Russian woman) ―The kaleidoscopic succession of images . effectively suspends the narrative progress and forces us to pay attention to those large margins in the canvas of life.” --Miyashi, Accomplices of Silence, 111 In The Sound of the Mountain: ―the paragraphs, highlighting the objects of [Shingo‘s] consciousness, nonetheless gradually move away from the interior of his existence toward the container of all the drama – the world around, the wide margins of the novel.‖ --Miyashi, Accomplices of Silence, 118 Nature by itself ―Kawabata‘s achievement . lies in just this, his keen awareness of the objects around men that exist in themselves as solidly as people do. Objects, in the world and in the world of the novel, are somehow or other related to people, but Kawabata seldom makes the connection between them explicit for us. With each of his brief paragraphs self-contained in this way . these objects tend to stand autonomous.” --Miyashi, Accomplices of Silence, 119 > not a statement of atomism, but of biocentrism ―What I would call Kawabata‘s nominal imagination is apparent even in his earliest work.
[Show full text]
Japanese Studies at Manchester Pre-Arrival Reading Suggestions For
Japanese Studies at Manchester Pre-arrival Reading Suggestions for the 2020-2021 Academic Year This is a relatively short list of novels, films, manga, and language learning texts which will be useful for students to peruse and invest in before arrival. Students must not consider that they ought to read all the books on the list, or even most of them, but those looking for a few recommendations of novels, histories, or language texts, should find good suggestions for newcomers to the field. Many books can be purchased second-hand online for only a small price, and some of the suggestions listed under language learning will be useful to have on your shelf throughout year one studies and beyond. Japanese Society Ronald Dore City Life in Japan describes Tokyo society in the early 1950s Takie Lebra's book, Japanese Patterns of Behavior (NB US spelling) Elisabeth Bumiller, The Secrets of Mariko Some interesting podcasts about Japan: Japan on the record: a podcast where scholars of Japan react to issues in the news. https://jotr.transistor.fm/episodes Meiji at 150: the researcher Tristan Grunow interviews specialists in Japanese history, literature, art, and culture. https://meijiat150.podbean.com/ Japanese History Andrew Gordon, A Modern History of Japan Marius B. Jansen, The Making of Modern Japan John W. Dower Embracing Defeat: Japan in the Wake of World War II Christopher Goto-Jones, Modern Japan: A Very Short Introduction (can be read in a day). Religion in Japan Ian Reader, Religion in Contemporary Japan Japanese Literature The Penguin
[Show full text]
As Traduções De Kokoro, De Natsume Soseki, Para As Línguas Inglesa E Portuguesa
UNIVERSIDADE FEDERAL DE JUIZ DE FORA FACULDADE DE LETRAS AS TRADUÇÕES DE KOKORO, DE NATSUME SOSEKI, PARA AS LÍNGUAS INGLESA E PORTUGUESA Marcionilo Euro Carlos Neto JUIZ DE FORA 2014 1 UNIVERSIDADE FEDERAL DE JUIZ DE FORA FACULDADE DE LETRAS AS TRADUÇÕES DE KOKORO, DE NATSUME SOSEKI, PARA AS LÍNGUAS INGLESA E PORTUGUESA Marcionilo Euro Carlos Neto Monografia submetida ao Departamento de Letras Estrangeiras Modernas da Faculdade de Letras da Universidade Federal de Juiz de Fora como parte dos requisitos para a obtenção do grau de Bacharel em Letras: Ênfase em Tradução – Inglês. Orientadora: Profª. Drª Maria Clara Castellões Oliveira JUIZ DE FORA 2014 2 BANCA EXAMINADORA _____________________________________________________________________ Profª. Drª. Maria Clara Castellões de Oliveira – Orientadora _____________________________________________________________________ Prof. Dr. Rogério de Souza Sérgio Ferreira _____________________________________________________________________ Profª. Drª. Sandra Aparecida Faria de Almeida Data da defesa: ____________________ Nota: _______________________ Faculdade de Letras Universidade Federal de Juiz de Fora Juiz de Fora, Fevereiro de 2014. 3 AGRADECIMENTOS Ao Wataru Miyoshi, Ter o privilégio de tê-lo conhecido foi primordial para que esse trabalho fosse possível, uma vez que, por causa de nosso encontro, despertei o interesse pela língua e cultura japonesa, estudando-a com persistência, conseguindo realizar meu desejo de estudar e morar no Japão. À família Tsuruta, Ser acolhido por vocês foi essencial
[Show full text]
Making Icons
Making Icons Repetition and the Female Image in Japanese Cinema, 1945–1964 Jennifer Coates Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2016 Hong Kong University Press ISBN 978-988-8208-99-9 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents List of Illustrations vii Acknowledgements viii Notes on the Romanization of Japanese Words x Introduction 1 Aff ect and the Spectator 4 From Emotion, through Aff ect, to Fantasy 12 Communal Fantasies: Making Meaning and Memory through Film 17 Women in Post-war Japan 21 Reading the Female Image: An Iconographic Approach 22 Chapter Outline 30 Chapter 1 Post-war Stars and the Japanese Studio System 33 Stars and the Studios 44 Compliance and Confl ict in the Studios: Th e Tōhō Strikes 49 Aff ect and Aspiration: Th e Star Persona of Hara Setsuko 54 Misora Hibari, Yamaguchi Yoshiko, and the ‘New Faces’ 62 Chapter 2 Th e Suff ering Mother Trope 68 Suff ering Mothers versus Modern Housewives 68 Historical Contexts: Changing Japan from the Family Level Up 70 From Victim to Victimizer: Changes in the Mother
[Show full text]
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
[Show full text]
Japan Foundation Supported Project Mikio Naruse Season at the BFI Southbank
Japan Foundation Supported Project Mikio Naruse Season at the BFI Southbank Date: 29 June – 31 July 2007 Venue: BFI Southbank, London In Japan Naruse Mikio (1905-69) is considered to be a master of the cinema and revered as much as Mizoguchi and Ozu, yet his films are largely unknown here in the UK. The season of Naruse's greatest films that showed at the British Film Institute from 29 June – 31 July 2007 was therefore an exciting and invaluable experience. Naruse's films display a unique, pure dramatic and visual sensibility and are often poignant tales of working-class life concentrating, notably, on female characters who are both trapped by, and struggling against, social and familial mores. Naruse portrays women in a realistic way and seems to understand them and their role in modern society. Naruse's films are similar to those of Ozu, in particular the world of Tokyo Story but his trajectory and scope go beyond that of even Ozu's, for they go to the still centre of the turning world in depicting with empathy the lives of ordinary women in 50s’ Tokyo. His Tokyo is both emblematic of the miracle of post-war reconstruction and a reminder of the sad, tragic and non-distant past. In this retrospective of Naruse's films, many are depictions of this Tokyo. In particular the film Ginza Cosmetics (1951), in which Tanaka Kinuyo is sensational as a fading bar hostess in the Ginza District of Tokyo, nearing middle-age and unable to spend time with her son. It is a key post-war Japanese film and is essential viewing.
[Show full text]
Hideko Takamine
Hideko Takamine By Ron Holloway Spring 1994 Issue of KINEMA AT SEVENTY, she’s Japan’s greatest living actress, often compared to Mary Pickford, but more like a Katherine Hepburn for the range of her talent and commanding presence of the screen -- Hideko Takamine. Despite being recognized as a screen immortal in Japan, only a handful of her more than three hundred film appearances are known in the United States, due to the tragic destruction of the Japanese filmarchives during the war. Thus she’s known in the West mostly by her postwar films, made during that last great period of Japanese cinema of the 1950s and early 1960s, after which television was to replace moviegoing as the population’s favourite form of entertainment. Rather late in her career, Takamine did venture into television, but was never satisfied with the results. Finally, in 1979, deciding that the new medium was not for her, she gracefully took leave of the screen to enjoy for the first time in five decades the pleasures of a private life. When at the last Tokyo Film Festival I asked to interview her, Japanese critics told me that such was impossible: ”She just doesn’t give interviews.” But a mutual friend, film historian Akira Shimizu, intervened on my behalf for a casual meeting, which was arranged one afternoon at the International House. To put the record straight, Hideko Takamine has been interviewed at length by American journalist Phyllis Birnbaum for a ”Profile” published in New Yorker in November of 1990. Moreover, her key postwar films -- made together with Mikio Naruse, one of her two favourite directors -- were programmed by American film historian Audie E.
[Show full text]
The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA)
Recordings at Risk Sample Proposal (Fourth Call) Applicant: The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project: Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Portions of this successful proposal have been provided for the benefit of future Recordings at Risk applicants. Members of CLIR’s independent review panel were particularly impressed by these aspects of the proposal: • The broad scholarly and public appeal of the included filmmakers; • Well-articulated statements of significance and impact; • Strong letters of support from scholars; and, • A plan to interpret rights in a way to maximize access. Please direct any questions to program staff at [email protected] Application: 0000000148 Recordings at Risk Summary ID: 0000000148 Last submitted: Jun 28 2018 05:14 PM (EDT) Application Form Completed - Jun 28 2018 Form for "Application Form" Section 1: Project Summary Applicant Institution (Legal Name) The Regents of the University of California, Berkeley Applicant Institution (Colloquial Name) UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project Title (max. 50 words) Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Project Summary (max. 150 words) In conjunction with its world-renowned film exhibition program established in 1971, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) began regularly recording guest speakers in its film theater in 1976. The first ten years of these recordings (1976-86) document what has become a hallmark of BAMPFA’s programming: in-person presentations by acclaimed directors, including luminaries of global cinema, groundbreaking independent filmmakers, documentarians, avant-garde artists, and leaders in academic and popular film criticism.
[Show full text]
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
[Show full text]
Cinefiles Document #31471
Document Citation Title The best of Naruse Author(s) John Gillett Source National Film Theatre (London, England) Date 1984 Jul Type program Language English Pagination No. of Pages 5 Subjects Naruse, Mikio (1905-1969), Yotsuya, Tokyo, Japan Film Subjects Hideko no shasho-san (Hideko the bus conductress), Naruse, Mikio, 1941 Meshi (Repast), Naruse, Mikio, 1951 Inazuma (Lightning), Naruse, Mikio, 1952 Hikinige (Hit and run), Naruse, Mikio, 1966 Hataraku ikka (The whole family works), Naruse, Mikio, 1939 Otome-gokoro sannin shimai (Three sisters with maiden hearts), Naruse, Mikio, 1935 Tsuruhachi Tsurujiro (Tsuruhachi and Tsurujiro), Naruse, Mikio, 1938 Tsuma yo bara no yo ni (Wife! Be like a rose!), Naruse, Mikio, 1935 Onna ga kaidan o agaru toki (When a woman ascends the stairs), Naruse, Mikio, 1960 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) Midaregumo (Scattered clouds), Naruse, Mikio, 1967 Yama no oto (Sound of the mountain), Naruse, Mikio, 1954 Ukigumo (Floating clouds), Naruse, Mikio, 1955 Iwashigumo (Summer clouds), Naruse, Mikio, 1958 Ani imoto (Older brother, younger sister), Naruse, Mikio, 1953 Midareru (Yearning), Naruse, Mikio, 1964 Horoki (Her lonely lane), Naruse, Mikio, 1962 Nagareru (Flowing), Naruse, Mikio, 1956 Bangiku (Late chrysanthemums), Naruse, Mikio, 1954 Fûfu (Husband and wife), Naruse, Mikio, 1953 Okasan (Mother), Naruse, Mikio, 1952 Kimi to wakarete (Apart from you), Naruse, Mikio, 1933 Kagirinaki hodo (Street without end), Naruse, Mikio, 1934 Yogoto no yume (Every night dreams), Naruse, Mikio, 1933 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S.
[Show full text]
Classic Japanese Film Screenings Semester 2, 2013: Kinema Junpō Series
CLASSIC JAPANESE FILM SCREENINGS SEMESTER 2, 2013: KINEMA JUNPŌ SERIES 4pm fortnightly in Coombs bldg. Seminar Room D (see screening dates below) AUG 07 UMARETE WA MITA KEREDO (I Was Born, but…) Dir. Ozu Yasujirō, 1932. 100 mins. After moving into a new neighborhood, two young brothers must outwit the local bullies. They are later distressed to see their father debasing himself in front of his boss. An early silent feature from Ozu combines charming comedy, coming-of-age family drama and a sly look at Japan’s social structure. A classic silent film. Kinema Junpō best film award winner 1933. AUG 21 NI-JŪ SHI NO HITOMI (Twenty-four Eyes) Dir. Kinoshita Keisuke, 1954. 156 mins. On the eve of fascism and war in the Pacific, a dedicated school teacher struggles to impart to her pupils a positive view of the world and their place in it. A mixture of emotional drama and sober analysis, this film from the director of The Ballad of Narayama (1958) is a favourite in Japan but little- known abroad. Kinema Junpō best film, Golden Globe best foreign film 1955. Placed #6 in Kinema Junpō’s ten best Japanese films of all time (2009 list). SEPT 04 UKIGUMO (Floating Clouds) Dir. Naruse Mikio, 1955. 123 mins. A wartime love affair is renewed in the uncertain world of postwar Japan. Based on the novel by Fumiko Hayashi, and addressing the familiar postwar themes of wandering and identity dislocation, Ukigumo was Naruse’s most popular film in Japan. Won best film, actor, actress and director at 1956 Kinema Junpō awards.
[Show full text]
Selected Secondary Sources on Kawabata's Snow Country
SELECTED SECONDARY SOURCES ON KAWABATA’S SNOW COUNTRY Selected by David Barnhill Ueda, Makoto. Modern Japanese Writers and the Nature of Literature. Stanford, Calif.: Stanford University Press, 1976. ―Life in the real world was a mixture of things true and untrue, pure and impure, sincere and insincere. A novelist leading a spiritually rich life would be able to pick out only those things in life that were true, pure, and sincere, and then rearrange them to produce an order of reality more beautiful than the everyday kind. A man living a spiritually deprived existence would not be capable of doing so.‖ --Ueda, Modern Japanese Writers, 175 ―In general, then, it can be said that, for Kawabata, the best literary material was a life that was vital, positive, and pure.‖ --Ueda, Modern Japanese Writers, 176 ―Kawabata, however, differed from Shiga in one significant way: he did not idealize wild animals. For Shiga, the life of a sturdy animal in its natural setting was the ultimate model for human life. For Kawabata this was not so; animals in the wild might be living a more genuine life than men, but they were not conscious of it nor did they strive to perfect themselves.‖ --Ueda, Modern Japanese Writers, 176 ―Pure life‘ as conceived by Kawabata, then, is dynamic. It is energy generated by striving after an ideal. To use his favorite word, it is a ‗longing.‘ Deploring the fact that critics frequently called him a decadent writer or a nihilist, he once explained: ‗I have never written a story that has decadence or nihilism for its main theme.
[Show full text]