DOCSLIB.ORG

Adventures of Electric Rod Boy 193 Akira 140, 152 All About Lily Chou

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adventures of Electric Rod Boy 193 Akira 140, 152 All About Lily Chou Index Adventures of Electric Rod Boy 193 Dark Tales of Japan 173 Akira 140, 152 Dark Water 11, 75-6, 81-91, 99- All About Lily Chou-chou 12, 104-11, 137 100, 111, 173 All Night Long 12, 104, 111-23 Deodato, Ruggero 187 All Night Long 2: Atrocity 12, 104, 111- Deren, Maya 69 13, 115 Devil’s Experiment 10, 21, 23, 26- All Night Long 3: Atrocities 12, 104, 111- 33, 35 12, 114, 119, 121-4 Devil Woman Doctor 10, 35-7, 40- Andromedia 131 1, 43 Attack of the Mushroom People 8 Dogora the Space Monster 7 Audition 1, 105 Ebola Syndrome 1 Barker, Clive 140, Evil Dead, The 35 Battle Royale 107 Evil Dead Trap, The 8 Beautiful Girl Hunter 23 Beginning of the End 139 Ferrara, Abel 115 Blade Runner 60 Flowers of Flesh and Blood 10, Blair Witch Project, The 187 15-6, 23-6, 31-2, 34-5 Blonde Kaidan 173-4 Friday the 13th 76, 92, 95, 172 Bloody Fragments on a White Wall 23 Fukasaku Kinji 107 Brakhage, Stan 69 Bright Future 91, 170 Ghost in the Shell 164 Buffy the Vampire Slayer 92, 101 Godard, Jean-Luc 42, 69, 129, 192 Buñuel, Luis 21, 30-1, 186 Gojira 7, 92, 138-9, 169 Burst City 8 Grudge, The 173-4, 184 Cannibal Holocaust 187 Hashimoto Izo 23 Charisma 160 Happiness of the Katakuries 132 Chien Andalou, Un 30-1, 186 Happy Birthday to Me 172 Craven, Wes 99, 184 He Never Dies 10, 35-6, 42-7 Cronenberg, David 49, 51, 53, 140, Henry: Portrait of a Serial Killer Cunningham, Sean S. 172 187 Cure 160 Hidden Fortress, The 3, 92 Higuchinsky 12, 135-7, 153, 155- Dali, Salvador 30-1, 186 60, 169, 181, 196 218 Nightmare Japan Hino Hideshi 10, 23, 26, 31-4 N-Girls Vs Vampire 131 Honda Ishiro 7-8, 169 Nakata Hideo 2-3, 11, 75-6, 78, Hooper, Tobe 99, 160 81-2, 84-91, 99-100, 111, 174, 181 I Spit on Your Grave 115 Naked Blood 10 –11, 49-64, 70, Ichi the Killer 12, 104-5, 125-32 73, 139, 196 Ikeda Toshiharu 8 Nightmare on Elm Street, A 76, Infection 12, 172, 175-8 92, 95 Ishii Sogo 8 One Missed Call 129, 131, 173, J-Horror Anthology: Legends 172 184 J-Horror Anthology: Underworld 172 Onibaba 7, 11, 75 Ju-on: The Grudge 11, 75-7, 92-102, 111 Oshima Nagisa 69 Ju-on 1 76, 173 Ozu, Yasujio 96 Ju-on 2 76, 173 Pasolini, Pier Paolo 65-7, 70-3 Kwaidan 7, 11, 75 Peeping Tom 186-7 Kadokawa Mystery & Horror Tales 172 Pinocchio 964 8 Kaufman, Lloyd 36 Powell, Michael 186-7 Kim Dong-Bin 2 Premonition 9, 12, 172, 176-83 Kobayashi Masaki 7, 11, 75 Prom Night 172 Kurosawa Akira 3, 92 Pulse 12, 20, 135, 137, 160-1, Kurosawa Kiyoshi 12, 77, 99, 135, 137, 163, 165-9, 173 160-1, 163-6, 168-170, 196 Kuzumi Masayuki 10, 35, 42-3, 47 Raimi, Sam 35 Red Dawn 16 Last War 8 Redneck Zombies 35 Lewnes, Pericles 35 Ring 2 Liang Tsai Ming 165 Ring, The 3, 173 Lifeforce 160 Ringu 2-3, 11, 75-8, 81-5, 87, 89, Lost in Translation 174 91, 99-100, 111, 174, 181, Lucas, George 3, 92 Rodan 7 Lynch, David 140 Roeg, Nicholas 165 Salò, or the 120 Days of Sodom Magnificent Seven, The 3, 92, 158 65-7, 70-2 Majin: Monster of Terror 7 Sánchez, Eduardo 187 Man Who Fell to Earth, The 165 Sato Hisayasu 10-11, 21, 49-73, Marebito 13, 172, 184-191, 197 139, 196 Matsubayashi Shuei 8 Satoru Ogura 10, 21, 23, 26-31, McNaughton, John 187 33, 35 Miike Takashi 1, 9, 12, 104-5, 125-33, Scary True Stories 8 184 Scorsese, Martin 165 Ms. 45 115 Scott, Ridley 60 Muscle 10-11, 49-51, 64-74 Shindô Kaneto 7, 11, 75 My Bloody Valentine 172 Shutter 173 Myrick, Daniel 187 Silent Night, Deadly Night 172 .
Load more

Recommended publications
  • Masters Title Page
    MULTICULTURALISM AND ALIENATION IN CONTEMPORARY JAPANESE SOCIETY AS SEEN IN THE FILMS OF TAKASHI MIIKE Steven A. Balsomico A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Ronald E. Shields, Advisor Walter Grunden ii ABSTRACT Ronald E. Shields, Advisor Through his films, Takashi Miike reminds audiences of the diverse populations within Japan. He criticizes elements of the Japanese sociological structures that alienate minorities and outcasts. Through the socialization process, Japanese youth learn the importance of “fitting in” and attending to the needs of the group. Clear distinctions of who are “inside” and “outside” are made early on and that which is “outside” is characterized as outcast and forbidden. In three of his films, "Blues Harp," "Dead or Alive," and "Deadly Outlaw: Rekka," Miike includes individuals who have been situated as outsiders. In "Blues Harp," Chuji, due to his obvious heritage, cannot find a place in society, and thus exists on the fringes. In "Dead or Alive," Ryuichi has felt that the country in which he lives has placed him in a disadvantaged status: therefore, he must strike out on his own, attempting to achieve happiness through criminal means. In "Deadly Outlaw: Rekka," Kunisada, an outsider by blood and incarceration, cannot relate to his peers in the world. As a result, he lashes out against the world in violence, becoming an individual who is portrayed as a wild beast. When these outsiders attempt to form their own groups, they often face eventual failure.
    [Show full text]
  • SHANGRI-LA (TOGENKYO NO HITOBITO) Production Year: 2002
    SHANGRI-LA (TOGENKYO NO HITOBITO) Production Year: 2002 Domestic theatrical release (Japan): September 7, 2002 Running Time: Approximately 104 min Aspect Ratio: 1:1.85 A non-stop film machine, Takashi Miike’s effort here is a collaboration with the best selling comic book artist/novelist Yuji Aoki. Aoki knows the money game well, and his comic book “Naniwa Kinyu-do” (sold over 10,000,000 copies) made him popular nation wide. This is the first film adapted from his novel ba ed on his autobiographical story. Miike tries to expand his range of film genres here as this con-game film has a touch of black comedy. SYNOPSIS A small printing company, Umemoto Insatsu is located on the edge of Osaka. Umemoto (Yu TOKUI) who is the owner of the company is living in peace with his family, but suddenly, the peace is broken. The biggest client, Uwazoko-Ya is bankrupt, which means that the payments from Uwazoko-Ya to Umemoto turn into dishonored bills. Umemoto rushes to the president of Uwazoko-ya, Mr. Kourishima (Akaji MARO) to get payment, but Kourishima ignores his pleas. As a result, Umemoto looses his money and house, and wanders around blankly. A homeless peoples’ community called “SHANGRI-LA” lies under the bridge of the river Yodogawa. An ex-assassin who is called the “VILLAGE CHIEF” (Show AIKAWA), is economically astute and respected by all of the “villagers.” All the villagers are living free and comfortable (and cleanly!) under his protecti n. But, one day their calm life is suddenly interrupted. Tons of industrial scrap is illegally dumped on the village.
    [Show full text]
  • Star Trek Fan Association, Inc
    STARFLEET Communiqué Issue Number 153, June/July, 2009 A newsletter publication provided for members of STARFLEET, The International Star Trek Fan Association, Inc. table of contents William “Biff” Basset III (1943-2009) STARFLEET Communiqué Eulogies, tributes, and memories from numerous STARFLEET friends 3 Number 153 Report from the Commander, STARFLEET by FADM Sal Lizard 4 STARFLEET Star Trek Short Story Writer’s Contest Complete by ADM Marlene Miller 4 Publisher: Jonathan Lane Report from the Vice-Commander, STARFLEET by VADM Dave Blaser 5 Editor-in-Chief: Prasith Kim-Aun, DMD ECAB Report by VADM Dave Blaser 5 Content Editor: Jonathan Lane Report from the Chief Financial Officer by COMM Michael Stein 6 Layout: Prasith Kim-Aun, DMD Interview with Fox 5 “Good Morning, New York” by ADM Bob Vosseller 7 Front Cover: Layout by Jonathan Lane Star Trek: Just a Movie? by ADM Linda Smith 8 Proof Readers: Jon Lane and Alex Rosenzweig Communications Report by COMM Jonathan Lane 9 Published by: Operations Report by RADM Jerry Tien 11 STARFLEET, Computer Operations Report by COMM John Halliday 11 The International Star Trek Fan Association, Inc. Shakedown Operations Report by RADM Warren Price 12 PO Box 291 Academy News by ADM Peg Pellerin 13 North Hampton, NH 03862 Ask “Deep Trek” - #005 by CMDR George Flanik 14 STARFLEET Members Care for One Another by MGN John Roberts 15 Send submissions via e-mail to [email protected] STARFLEET Stampede Not Dead! by FCPT Gary Telecsan 16 STARFLEET Stampede Alive and Well and Living in Virginia by FCPT Gary Telecsan 16 ...or any written papers to the address above.
    [Show full text]
  • HARA KIRI Pressbook Español
    LA HISTORIA Con el fin de morir dignamente, Hanshiro, un samurái sin recursos, solicita llevar a cabo un suicidio ritual en la residencia del clan Li, liderado por Kageyu. Este intenta hacerle desistir de su idea contándole la trágica historia de un joven ronin, Motome, que poco tiempo atrás había llegado a ese lugar con las mismas intenciones. A pesar del impacto que provocan en él los espeluznantes detalles del destino de Motome, Hanshiro persiste en su decisión de morir con honor. Cuando llega el momento de practicarse el hara-kiri, realiza una última petición: desea ser asistido por tres tenientes de Kageyu que, por una extraña coincidencia, se encuentran ausentes. Receloso y enfadado, Kageyu pide explicaciones a Hanshiro. Este revela su vínculo con Motome y relata la historia agridulce de sus vidas. Kageyu pronto comprende que Hanshirose se ha sometido a una prueba de fuerza. La certitud del código de caballería de los samuráis empieza a tambalearse y resurge la humanidad. HARA-KIRI HARA-KIRI presenta dos universos opuestos: el doméstico y el militarista. La tensión dramática de la película está en la confluencia de ambos. Miike no necesita una retórica visual extravagante para poner de relieve la cruel inhumanidad del espíritu militar con los sombríos recovecos de un interior feudal, o la ardua supervivencia de una familia pobre con falta de luz de su humilde morada. Rescata algunos valores de directores nipones caídos en el olvido: una puesta en escena repleta de matices, una interpretación humana y sobria, una emoción intensa. Sin embargo, la película en ningún momento suscita una nostalgia de la “edad de oro” perdida del cine japonés.
    [Show full text]
  • Sight & Sound Annual Index 2018
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 28 January to December 2018 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 SUBJECT INDEX Akhavan, Desiree Anderson, Michael 8:46, 47 Armstrong, Gillian 11:15; 12:95 Ashes and Diamonds 9:36 Ballers series 9:22 Film review titles are also The Miseducation of Cameron Post Anderson, Paul Thomas 2:34; 4:35 Armstrong, Robert 10:88 Ash Is Purest White 6:5; 7:20 Bambach, Josef 11:15 included and are indicated by 10:67(r), background with Phantom Thread 2:69(r); Arnold, Andrea 4:34; 5:26, 27; 9:90 Asia Extreme 1:54-5 Bamber, David 10:31 (r) after the reference; comments from her 10:36-8 3:5, 9, background with Arnold, Jack 5:13 Asp, Anna 2:41 Bamboozled 9:25, 27 (b) after reference indicates Akhenaten 6:87 comments from him 2:20-5 Aronofsky, Darren 1:20; 8:95 aspect ratios Bancroft, Anne 8:47 a book review Akingbade, Ayo 10:19 Anderson, Wes 12:11 Around India with a Movie tv settings 1:111 Banderas, Antonio 3:82, 83 Akomfrah, John 8:13 Isle of Dogs 2:6; 3:9, 21; 4:18, Camera 4:56(r) Assassination Nation 12:59(r) Banerjee, Aarshi 11:21 A Aksu, Akin 12:48 63(r), background 4:22, Arrieta, Adolfo 1:12 Assayas, Olivier 11:19 Bang, Claes 4:38 Aardman Studios Alan Bleasdale Presents..
    [Show full text]
  • Outlaw Masters of Japanese Film Dedicated to the Memory of My Late Father, Paul R
    Outlaw Masters Of Japanese Film Dedicated to the memory of my late father, Paul R. Desjardins, 1919–2003, who went through hell his last few years and was consequently unable to finish his own book on his pioneering work in electron microscopy (in the field of plant pathology). Also to my mother, Rosemary, who has had her own gauntlet to run in the last year and has managed to come out the other side. Both my parents have always been loyal, loving and there for me, never turning their backs on me during my extended period of raising hell. To my girl, Lynne Margulies, a truly great soulmate in all things, including the creative process. And to the memory of late director Kinji Fukasaku, a great inspiration to anyone daring to think of giving up in the face of adversity. I was lucky to get to know him and to consider him as a mentor as well as a friend. OUTLAW MASTERS OF JAPANESE FILM CHRIS D. Advisory Editor: Sheila Whitaker Published in 2005 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Chris Desjardins, 2005 The right of Chris Desjardins to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.
    [Show full text]
  • About the Producer / Director
    A TAKASHI MIIKE FILM IN COMPETITION 7.30pm, Tuesday 4th September, Sala Perla (daily press) Press Screenings: 10.30pm, Tuesday 4th September, Palalido (press, industry, professional) Press Conference: 12.00pm, Wednesday 5th September, Palazzo del Casino – 3rd floor Official Screening: Midnight, Wednesday 5th September, Sala Grande (All Accreditations) INTERNATIONAL PRESS ITALIAN PRESS DDA Public Relations Marzia Milanesi Comunicazione per il Cinema Hotel Excelsior #114 Tel : +39 041 526 6147 / 6141 Marzia Milanesi +39 348 3144360 Jill Jones [email protected] +39 335 6817909 [email protected] Jenny Bertetto +39 349 1999743 Anna Bohlin [email protected] +39 335 6755227 [email protected] INTERNATIONAL SALES Melody Monfreda Celluloid Dreams +39 335 672 3245 2 rue Turgot, Paris 75009 [email protected] T: 01 49 70 03 70 F: 01 49 70 03 71 [email protected] www.celluloid-dreams.com Photos can be downloaded from www.image.net Genre: Action / Western Running Time: 121 minutes Completed: August 2007 Production Partners: Sedic International; Geneon Entertainment; Sony Pictures Entertainment (Japan); Dentsu; TV Asahi; Shogakukan; A Team; Nagoya Broadcasting Network; Tokyu Recreation. Writers: Takashi Miike and Masaru Nakamura Director: Takashi Miike su·ki·ya·ki [soo-kee-yah-kee] n. A popular Japanese dish made with beef and usually containing soy sauce, bean curd, and greens, cooked in a single pot at the table. Simple ingredients cooked together without added broths to create a unique essence that is truly
    [Show full text]
  • L'altra Parte Del Reale
    CORE Metadata, citation and similar papers at core.ac.uk Provided by InstitutionalOrizzonti Research giapponesi Information System University of Turin ISBN 978-88-255-2118-4 DOI 10.4399/978882552118420 pp. 407-430 (dicembre 2018) L’altra parte del reale La rivoluzione digitale secondo il cinema giapponese contemporaneo GIACOMO CALORIO Cinema giapponese e digitale: qualche premessa Del rapporto tra cinema giapponese contemporaneo e rivoluzio- ne digitale si potrebbe parlare in diversi termini e da diverse pro- spettive, non da ultimo in ragione della condizione di pluralità (Casetti, 2006, p. 12; Uva, 2009, p. 43) che in epoca digitale contraddistingue il cinema tutto. Lo si potrebbe fare, per esem- pio, seguendo l’esempio di Mitsuyo Wada-Marciano (2012), ov- vero sottolineando la spinta che, verso il finire del secolo scorso, le tecnologie digitali hanno esercitato sul comparto produttivo e sulle dinamiche di circolazione dei film, contribuendo, tra le altre cose, a disegnare i contorni della cosiddetta “New Wave” degli anni Novanta e dei suoi sviluppi successivi. Oppure, focalizzan- do maggiormente il discorso sull’intensificazione dei fenomeni di convergenza (Jenkins, 2006; 2007) tra oggetti culturali di di- versa natura mediale, cinema compreso (Zecca, 2012), accomu- nati dalla loro nuova “sostanza”, il codice binario, nonché dagli strumenti adibiti alla sua “lavorazione”, ovvero i software. Se il digitale si è rivelato «un poderoso strumento di ampliamento ed espansione della geografia intermediale del cinema» (Zecca, 2013, p. 51), in particolare l’accentuazione della dimensione pit- torica di quest’ultimo ha comportato un suo avvicinamento alla sfera del fumetto, il quale, soprattutto nel contesto dell’industria cinematografica statunitense, si è affermato come bagaglio privi- 407 408 GIACOMO CALORIO legiato di forme e contenuti a cui attingere.
    [Show full text]
  • 46 OKU NEN NO KOI Panorama BIG BANG LOVE, JUVENILE a Special BIG BANG LOVE, JUVENILE a BIG BANG LOVE, JUVENILE a Regie: Takashi Miike
    PS-3569_K 27.01.2006 19:45 Uhr Seite 128 Berlinale 2006 46 OKU NEN NO KOI Panorama BIG BANG LOVE, JUVENILE A Special BIG BANG LOVE, JUVENILE A BIG BANG LOVE, JUVENILE A Regie: Takashi Miike Japan 2006 Darsteller Jun Ariyoshi Ryuhei Matsuda Länge 85 Min. Shiro Kazuki Masanobu Ando Format 35 mm, 1:1.85 und Ryo Ishibashi Farbe Renji Ishibashi Kenichi Endo Stabliste Buch Masa Nakamura, nach dem Roman „Shonen A ereji“ von Ato Masaki (=Ikki Kajiwara, Hisao Maki) Kamera Masahito Kaneko Ausstattung Nao Sasaki Kostüm Michiko Kitamura Maske Isao Tsuge Produzenten Takeshi Watanabe Shiro Sasaki Co-Produktion Excellent Film Co., Tokyo Maki Production Co. Ltd., Tokyo Shochiku Co. Ltd., Tokyo Eisei Gekijo Co. Ltd., Tokyo Produktion Big Bang Love, Juvenila A Film Partners c/o Shochiku Co. Ltd. 4-1-1 Tsukiji Togeki Building 12F J-Chucku JP-Tokyo 104-8402 Tel.: 3-55 59 16 73 Fax: 3-55 50 16 54 [email protected] Weltvertrieb Shochiku Co. Ltd. 4-1-1 Tsukiji Togeki Building 12F J-Chucku JP-Tokyo 104-8402 Tel.: 3-55 59 16 73 Fax: 3-55 50 16 54 [email protected] Ryuhei Matsuda, Masanobu Ando BIG BANG LOVE, JUVENILE A Jun Ariyoshi arbeitet in einer Schwulenbar. Als ein Kunde ihn sexuell be- drängt, kommt es zu einem heftigen Streit, in dessen Verlauf Jun den Mann tötet. Er zeigt nicht die geringsten Anzeichen von Reue und wird ins Ge- fängnis gesteckt. Dort lernt er einen interessanten jungen Mitgefangenen kennen: Shiro Kazuki trägt eigentümliche Tattoos und verfügt über bemer- kenswerte Blicke, die töten können.
    [Show full text]