DOCSLIB.ORG

Your Name Screenplay.Fdx

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Your Name Screenplay.Fdx 君の名は [Your Name] "Fan-made Screenplay" Original Story and Film by Makoto Shinkai Rewritten in English by Jake Gao gaojake.com [email protected] ii. I want to make it clear that I wrote this with my own time, and without permission from the original filmmakers and producers. As a screenwriting major in Los Angeles, I really wanted to read the screenplay to my favorite movie, Your Name, but I couldn't a copy of it anywhere (Japanese or English). So I came up with the bright idea to write my own! This project was super fun for me as I was able to really study the movie and its details. It also serves as fun writing practice, a way to force myself to write everyday, and something to serve up as a sample of my writing style. I hope that you all enjoy the read, and please feel free to critique me and point out any mistakes-- format, spelling, or grammatical-- as it'll help me improve my future projects! Thank you so much and keep dreaming! -Jake. Original story by Makoto Shinkai 1. EXT. ITOMORI - SKY - NIGHT We are so high sky that sunlight still peaks over the horizon, bouncing off the tops of clouds. Meteorites glow red as they fall towards Earth. Many fragments disintegrate in the atmosphere, but the largest piece dives into the clouds. The sound of wind whistles as the camera tracks the falling comet. The comet bursts through the cloud cover, revealing a darkened prefecture surrounding a large lake. We watch as the comet descends onto Itomori. CUT TO BLACK. OVER BLACK. ALL DIALOGUE IS SPOKEN IN JAPANESE. MITSUHA (V.O.) Every now and then, when I wake up... CUT TO: EXT/INT. TOKYO - DAY A wide, areal view of congested apartments, skyscrapers, and subways. MITSUHA (V.O.) I find myself crying. INT. TAKI’S ROOM - CONTINUOUS A neat, minimalist bedroom with schoolbooks and a desk. TAKI TACHIBANA (22), quick tempered but good hearted, sits up from his bed. He stares at his empty palm. TAKI (V.O.) I can never recall the dream I just had, but... Rewritten by Jake Gao Original story by Makoto Shinkai 2. INT. MITSUHA'S ROOM - CONTINUOUS A girl’s bedroom, small and compact. MITSUHA MIYAMIZU (25), a modest and soft-spoken, with long black hair, sits on the edge of her bed, staring at her empty palm. MITSUHA (V.O.) But... the sensation that I’ve lost something... lingers for a long time. Mitsuha ties her hair with braided cord. EXT. TOKYO - LATER Tracking Mitsuha’s feet as she walks along a busy sidewalk. People, subways, and cars move back and forth creating an organized mess in this concrete jungle. INT. SUBWAY - MOMENTS LATER Taki looks out the window at the cityscape flying past. TAKI (V.O.) I’m always searching for something... for someone. INT. SUBWAY - SAME TIME Mitsuha looks out the window at the same view, her hand pressed on the glass. MITSUHA (V.O.) This feeling possesses me, I think, from that day... EXT. TOKYO - NIGHT - FLASHBACK The comet flies high, its teal and pink tail illuminates the night sky. Taki (14) gazes from his balcony. TAKI (V.O.) That day when the stars fell. It was almost as if... EXT. ITOMORI - NIGHT - FLASHBACK Mitsuha (17) gazes at the falling comet in an open field. The expansive sky stretches over her. Rewritten by Jake Gao Original story by Makoto Shinkai 3. MITSUHA (V.O.) ...as if it were a scene from a dream. Nothing more, nothing less-- TAKI (V.O.) MITSUHA (V.O.) --than a beautiful view. --than a beautiful view. SUPER: Your Name MUSIC CUE: “Dream Lantern” by RADWIMPS. CUT TO BLACK. OVER BLACK. Titles stay on the screen for a moment longer. Beat. MONTAGE WITH OPENING CREDITS. ...Taki and Mitsuha find each other in a crowd of faceless people. ...Taki (14) and Mitsuha (17) stand back to back under a crescent moon. Suddenly-- still in the same position-- the two change. Taki, now 17, in his school uniform, stands taller than Mitsuha, still 17, who has short hair. Mitsuha’s braided cord floats around them. The two walk away from each other, causing the ribbon to disappear. ...Taki with Mitsuha’s braided cord around his wrist, sprints through the faceless crowd. ..Timelapse of Tokyo and Taki walking home from school. QUICK CUTS. --Mitsuha sulks in the corner of her family shrine. She looks at her palm sadly. --Mitsuha, wearing a shrine maiden uniform, performs a ritual dance on a wooden platform. --The comet shines brightly in the night sky. --Tokyo cityscape. --Itomori landscape. --Taki and Mitsuha face away from each other, looking at the sky. Rewritten by Jake Gao Original story by Makoto Shinkai 4. ...Taki and Mitsuha back to back again, but this time we seem them slowly grow older. Taki starts at 14 and ends at 22. Mitsuha starts at 17 and ends at 25. Their smiles fade as they grow older. ..Taki (17) stands on his Tokyo balcony. He stares past the horizon. The camera takes his POV and zooms across Japan to see Mitsuha (17), looking out the window of her room in Itomori. ...Taki and Mitsuha both stretch their hands out towards a large cloud in their respective cities. A moment passes and the two pull their hands back, smiling. They walk in opposite directions. END MONTAGE. END MUSIC CUE. CUT TO BLACK. OVER BLACK. A cellphone alarm rings. FADE IN: INT. MITSUHA’S HOUSE - BEDROOM - DAY Warm sunlight shines through the windows. A futon mattress lays on the floor. There are many different timelines to this story, however the main one will be when Taki and Mitsuha are both 17. The alarm continues to ring as Mitsuha (17) sleeps on the mattress. MITSUHA (V.O.) Taki... Taki... Don’t you remember me? CUT TO: INT. SUBWAY - DAY - DREAMLIKE Mitsuha caught in a mass of people leaving the car, tosses a braided cord, her handmade braided cord used to tie her hair, towards Taki, still in the car. Rewritten by Jake Gao Original story by Makoto Shinkai 5. MITSUHA My name is... Mitsuha! CUT BACK TO: BEDROOM Mitsuha (Taki) jolts up, panting. She takes a look around the room, confused. A neatly organized, Japanese-style room with sliding doors. She looks down at her breasts, and slowly gropes them. Taki is in Mitsuha’s body. Mitsuha, completely captivated by the feeling, doesn’t notice when the bedroom door slides open. YOTSUHA MIYAMIZU (9), a sassy young girl with pigtails, stands awkwardly watching Mitsuha-- her older sister-- touch her breasts. YOTSUHA Mitsuha, what are you doing? MITSUHA (to herself) They feel so real. Beat. Mitsuha turns towards Yotsuha, startled. MITSUHA (CONT'D) (points to herself.) What? Mitsuha? YOTSUHA Are you half-asleep? Breakfast! Hurry up! Yotsuha slams the door. Mitsuha trudges towards the full-body mirror and takes her pajamas off. Beat. Mitsuha sees her naked body. MITSUHA Huh? Rewritten by Jake Gao Original story by Makoto Shinkai 6. Mitsuha sees her naked body. MITSUHA (CONT'D) Huh?!?! DINING ROOM - THE NEXT DAY A traditional Japanese home. Open large doors that allow sunlight to shine through, and a low dining table with no chairs. HITOHA MIYAMIZU (82), a wise and spiritual grandmother, kneels at the dining table in a YUKATA (a casual summer kimono). Yotsuha brings a few bowls of soup to the table. YOTSUHA Grandma, do you want last night's leftovers? HITOHA No thank you, you can have them. Mitsuha jogs in, dressed in her school uniform. YOTSUHA Mitsuha, you’re late! MITSUHA I’ll make breakfast tomorrow. Mitsuha serves herself some rice, familiar with the space and humming to herself. Hitoha and Yotsuha watch her intently. Mitsuha piles rice into her bowl. MITSUHA (CONT'D) (mumbles to herself) Is this too much? Oh well. HITOHA You’re normal today. YOTSUHA (giggles) Yea, you were crazy yesterday. MITSUHA What are you talking about? A bell chimes through a radio in the house and a woman’s voice comes through. Rewritten by Jake Gao Original story by Makoto Shinkai 7. The voice rings through the entire town and we see tall speakers posted all over Itomori, carrying the same signal. This is how the Town Hall communicates with the locals. ANNOUNCER WOMAN (V.O.) Good morning, everyone. The announcer pauses between phrases to let the echo dissipate. ANNOUNCER WOMAN (V.O.) This is an announcement from Itomori Town Hall... regarding the mayoral election... to be held on the 20th next month, the election committee-- Hitoha unplugs the radio from the wall, angry. Mitsuha turns on the TV to a news channel. A female anchor speaks with a picture of the COMET beside her. A bar of text below her reads, “Comet Tiamat to pass by in a month: Visible to the naked eye”. NEWS ANCHOR (V.O.) A comet with an orbital period of 1200 years will pass by in a month. The comet will be visible to the naked eye for several days... The anchor’s voice fades to the background as Yotsuha speaks to Hitoha. YOTSUHA Just make it up with him- - MITSUHA - -It’s an adult matter. The anchor’s voice comes back in. CU of the TV showing a diagram of the comet’s trajectory. A text bar at the bottom reads, “Position of Comet Tiamat”. NEWS ANCHOR (V.O.) ...JAXA is preparing to observe the celestial show of the century. Rewritten by Jake Gao Original story by Makoto Shinkai 8. MITSUHA'S BEDROOM Mitsuha opens a small cosmetic drawer, revealing a few hair ties.
Load more

Recommended publications
  • Rlg101h Film Paragraph – Instructions
    RLG101H FILM PARAGRAPH – INSTRUCTIONS Submission • The deadline to submit this assignment is 11:59 pm on January 26. Your assignment will be penalized one mark (out of 20) per day late. • You must submit your assignment to both BLACKBOARD and TURNITIN.COM as a Microsoft Word (.doc or .docx) file. The version of your assignment on Turnitin.com will be the one graded. Paper copies will not be accepted. If you do not wish to submit your work to Turnitin.com, you must consult with the course instructor; for details see the course website: https://rlg101h.wordpress.com/grading/writing-assignments Purpose The main goal of this assignment is to demonstrate that theories of religion can be used to interpret phenomena that are often not understood or seen as “religious.” Also, we are asking you to submit just one paragraph at this stage so that you can receive detailed feedback on it, which will help you improve the work you produce for the full version of the film analysis assignment. Assignment Your task is to write a single paragraph analyzing a “non-religious” film using one of the following theories from chapter 5 of Nye’s Religion: The Basics: • Reductionism (p. 108–9) • Cognitive vs. affective beliefs (p. 117) • Habitus (p. 124–6) It is crucial that you choose a theory from the above list. If you use a different theory for this assignment, you may be penalized up to 10 marks (out of 20). Your analysis must show that, when the film is looked at using the theory you have chosen, it can be seen to promote a particular message.
    [Show full text]
  • Clare Domenico Olsen T/RS 25 May 2020 Spirited Away Anime Has Been an Important Part of Many People's Culture. from Shows
    Clare Domenico Olsen T/RS 25 May 2020 Spirited Away Anime has been an important part of many people’s culture. From shows like Pokemon and Naruto, to movies like Your Name and A Silent Voice. Personally, I do not watch a lot of anime in my time, but one of my favorite movies of all time is called Spirited Away, which is by the world famous director, Hayao Miyazaki, who owns the company Studio Ghibli. If i were to compare Miyazaki to somebody else, I would compare him to Walt Disney, since if you think about it, with his ratings and reviews, Miyazaki is basically the Walt Disney of Japan. His movies are filled with beautiful sceneries, music scores that will give you chills, and a story that will impact the viewer in every way, shape, and form. Every single one of the movies that this company brings out to the public is loved and cherished by many. Some, like the movie Totoro and Ponyo, are funny and light-hearted. Other movies by Miyazaki and Studio Ghibli, like Princess Mononoke and Howl’s Moving Castle, are more serious, and are better watched by an older audience so they can understand the main point and plot of the movie. One of my favorite movies by this company and director is called Spirited Away. Spirited Away was the first ever Studio Ghibli film I watched when I was a kid, and after watching it, I was hooked. The colors, sounds, and scenery were something at which I have never seen before in my life, and it drew me into the story and message it tries to obtain the viewer to have.
    [Show full text]
  • Tesi Di Laurea
    Corso di Laurea magistrale in LINGUE E ISTITUZIONI ECONOMICHE E GIURIDICHE DELL’ASIA E DELL’AFRICA MEDITERRANEA [LM4-12] Tesi di Laurea L’arte del silenzio Il simbolismo nel cinema di Shinkai Makoto Relatore Ch. Prof.ssa Roberta Maria Novielli Correlatore Ch. Prof. Davide Giurlando Laureando Carlotta Noè Matricola 838622 Anno Accademico 2016 / 2017 要旨要旨要旨 この論文の目的は新海誠というアニメーターの映画的手法を検討する ことである。近年日本のアニメーション業界に出現した新海誠は、写実的な スタイルで風景肖像を描くことと流麗なアニメーションを創作することと憂 鬱な物語で有名である。特に、この検討は彼の作品の中にある自分自身の人 生、愛情、人間関係の見方を伝えるための記号型言語に集中するつもりであ る。 第一章には新海誠の伝記、フィルモグラフィとその背景にある経験に 焦点を当たっている。 第二章は監督の映画のテーマに着目する。なかでも人は互いに感情を 言い表せないこと、離れていること、そして愛のことが一番大切である。確 かに、彼の映画の物語は愛情を中心に回るにもかかわらず、結局ハッピーエ ンドの映画ではない。換言すれば、新海誠の見方によると、愛は勝つはずで はない。新海誠は別の日本のアニメーターや作家から着想を得ている。その ため、次はそれに関係があるテクニックとスタイルを検討するつもりである。 第三章には新海誠の作品の分析を通して視覚言語と記号型言語が発表 される。一般的な象徴以外に、伝統、神話というふうに、日本文化につなが る具体的なシンボルがある。一方、西洋文化に触れる言及もある。例えば、 音楽や学術研究に言及する。 こうして、新海誠は異なる文化を背景を問わず観客の皆に同じような感情を 感じさせることができる。 最後に、後付けが二つある。第一に、新海誠が演出したテレビコマー シャルとプロモーションビデオが分析する。第二に、新海誠と宮崎駿という アニメーターを比較する。新海誠の芸術様式は日本のアニメーションを革新 したから、“新宮崎”とよく呼ばれている。にもかかわらず、この呼び名を 離れる芸術様式の分野にも、筋の分野にも様々な差がある。特に、宮崎駿の アニメーションに似ている新海誠の「星を追うこども」という映画を検討す る。 1 L’ARTE DEL SILENZIO Il simbolismo nel cinema di Shinkai Makoto 要旨要旨要旨 …………………………………………………………………………………………………………….Pg.1 INTRODUZIONE …………………………………………………………………………………………..Pg.4 CAPITOLO PRIMO: Shinkai Makoto……………………………………………………………………………………………Pg.6 1.1 Shinkai Makoto, animatore per caso 1.2 Filmografia, sinossi e riconoscimenti CAPITOLO SECONDO : L’arte di Shinkai Makoto……………………………………………………………………………..Pg.18
    [Show full text]
  • Announcer Session: Speaker 1: Ladies and Gentlemen. Speaker 2: Moms and Dads, Speaker 3: Children of All Ages
    ACT I Announcer Session: Speaker 1: Ladies and Gentlemen. Speaker 2: Moms and Dads, Speaker 3: Children of all Ages. Speaker 1: Welcome to the wonderful world of Walt Disney! Speaker 2: A magical kingdom where elephants fly, Chimney sweeps dance Speaker 3: And every wish you make comes true. Speaker 1,2, &3: Welcome one and all to the happiest place on earth! Zip-a-dee-doo-dah Zip-a-dee-doo-dah, Zip-a-dee-ay, my oh my, what a wonderful day, Plenty of sunshine headin’ my way, Zip-a-dee-doo-dah, Zip-a-dee-ay. Mister Bluebird on my shoulder, it’s the truth! It’s act’chill’! Everything is satisfactich’ll! Zip-a-dee-doo-dah, Zip-a-dee-ay wonderful feelin’ wonderful day. Wonderful feelin’ it’s a Disney Day. Wonderful Day. How d’ya do and shake hands How d’ya do and shake hands, shake hands, shake hands, Say how d’ya do and shake hands; state your name and business How d’ya do and shake hands, shake hands, shake hands, Say how d’ya do and shake hands; state your name and business Twiddle Dee: You go thru life and never know the day when fate may bring, a situation that will prove to be embarrassing Twiddle Dum: Your face gets red; you hide your head, and wish that you could die. But that’s old fashioned, here’s a new thing you should really try: How d’ya do and shake hands, shake hands, shake hands, Say how d’ya do and shake hands, state your name and business Say how d’ya do and shake hands, shake hands, shake hands, Say how d’ya do and shake hands, state your name and business Bibbidi Bobbidi Boo Sa-la-ga-doo-la, men-chic-ka-boo-la, bib-bi-di-bob-bi-di-boo Put ‘em together and what have you got? bib-bi-di-bob-bi-di-boo Fairy Godmother: Sa-la-ga-doo-la means men-chic-ka-boo-la-roo, but the thing –a-ma-bob that does the job is bib-bi-di-bob-bi-di-boo Sa-la-ga-doo-la, men-chic-ka-boo-la, bib-bi-di-bob-bi-di-boo Put ‘em together and what have you got? bib-bi-di-bob-bi-di, bib-bi-di-bob-bi-di, bib-bi-di-bob-bi-di, bib-bi-di-bob-bi-di, bib-bi-di-bob-bi-di-boo.
    [Show full text]
  • Graphic No Vels & Comics
    GRAPHIC NOVELS & COMICS SPRING 2020 TITLE Description FRONT COVER X-Men, Vol. 1 The X-Men find themselves in a whole new world of possibility…and things have never been better! Mastermind Jonathan Hickman and superstar artist Leinil Francis Yu reveal the saga of Cyclops and his hand-picked squad of mutant powerhouses. Collects #1-6. 9781302919818 | $17.99 PB Marvel Fallen Angels, Vol. 1 Psylocke finds herself in the new world of Mutantkind, unsure of her place in it. But when a face from her past returns only to be killed, she seeks vengeance. Collects Fallen Angels (2019) #1-6. 9781302919900 | $17.99 PB Marvel Wolverine: The Daughter of Wolverine Wolverine stars in a story that stretches across the decades beginning in the 1940s. Who is the young woman he’s fated to meet over and over again? Collects material from Marvel Comics Presents (2019) #1-9. 9781302918361 | $15.99 PB Marvel 4 Graphic Novels & Comics X-Force, Vol. 1 X-Force is the CIA of the mutant world—half intelligence branch, half special ops. In a perfect world, there would be no need for an X-Force. We’re not there…yet. Collects #1-6. 9781302919887 | $17.99 PB Marvel New Mutants, Vol. 1 The classic New Mutants (Sunspot, Wolfsbane, Mirage, Karma, Magik, and Cypher) join a few new friends (Chamber, Mondo) to seek out their missing member and go on a mission alongside the Starjammers! Collects #1-6. 9781302919924 | $17.99 PB Marvel Excalibur, Vol. 1 It’s a new era for mutantkind as a new Captain Britain holds the amulet, fighting for her Kingdom of Avalon with her Excalibur at her side—Rogue, Gambit, Rictor, Jubilee…and Apocalypse.
    [Show full text]
  • Download the Program (PDF)
    ヴ ィ ボー ・ ア ニ メー シ カ ョ ワ ン イ フ イ ェ と ス エ ピ テ ッ ィ Viborg クー バ AnimAtion FestivAl ル Kawaii & epikku 25.09.2017 - 01.10.2017 summAry 目次 5 welcome to VAF 2017 6 DenmArk meets JApAn! 34 progrAmme 8 eVents Films For chilDren 40 kAwAii & epikku 8 AnD families Viborg mAngA AnD Anime museum 40 JApAnese Films 12 open workshop: origAmi 42 internAtionAl Films lecture by hAns DybkJær About 12 important ticket information origAmi 43 speciAl progrAmmes Fotorama: 13 origAmi - creAte your own VAF Dog! 44 short Films • It is only possible to order tickets for the VAF screenings via the website 15 eVents At Viborg librAry www.fotorama.dk. 46 • In order to pick up a ticket at the Fotorama ticket booth, a prior reservation Films For ADults must be made. 16 VimApp - light up Viborg! • It is only possible to pick up a reserved ticket on the actual day the movie is 46 JApAnese Films screened. 18 solAr Walk • A reserved ticket must be picked up 20 minutes before the movie starts at 50 speciAl progrAmmes the latest. If not picked up 20 minutes before the start of the movie, your 20 immersion gAme expo ticket order will be annulled. Therefore, we recommended that you arrive at 51 JApAnese short Films the movie theater in good time. 22 expAnDeD AnimAtion • There is a reservation fee of 5 kr. per order. 52 JApAnese short Film progrAmmes • If you do not wish to pay a reservation fee, report to the ticket booth 1 24 mAngA Artist bAttle hour before your desired movie starts and receive tickets (IF there are any 56 internAtionAl Films text authors available.) VAF sum up: exhibitions in Jane Lyngbye Hvid Jensen • If you wish to see a movie that is fully booked, please contact the Fotorama 25 57 Katrine P.
    [Show full text]
  • 'CRAZY RICH ASIANS' Presented As a Particu
    BUDDHI DHARMA UNIVERSITY THE ANALYSIS OF MORAL VALUE SEEN IN KEVIN KWAN’S NOVEL ‘CRAZY RICH ASIANS’ Presented as a particular fulfillment of the requirment for the Undergraduate Program Meldyana Wijaya 20150600012 FACULTY OF SOCIAL SCIENCES AND HUMANITIES ENGLISH DEPARTMENT TANGERANG 2019 FINAL PROJECT PROPOSAL Name : Meldyana Wijaya Student Number : 20150600012 Faculty : Social Sciences and Humanities Study Program : English Department Strata-1 Final Project Title : “The Analysis of Moral Value Seen in Kevin Kwan’s Novel Crazy Rich Asians” The Final Project Proposal has been approved, March 01st, 2019. Approved by, Acknowledged by, Supervisor Head of Department Riris Mutiara P.S. S,Pd., M.Hum Riris Mutiara P.S. S,Pd., M.Hum NIDN: 0427068703 NIDN: 0427068703 FINAL PROJECT APPROVAL Final Project Title : “The Analysis of Moral Value Seen in Kevin Kwan’s Novel Crazy Rich Asians” Name : Meldyana Wijaya Student Number : 20150600012 Faculty : Social Sciences and Humanities Study Program : English Department Strata-1 The Final Project has been approved, July 05th, 2019. Approved by, Acknowledged by, Supervisor Head of Department Riris Mutiara P.S. S,Pd., M.Hum Riris Mutiara P.S. S,Pd., M.Hum NIDN: 0427068703 NIDN: 0427068703 RECOMMENDATION FOR THE ELIGIBILITY OF FINAL PROJECT EXAMINATION The Undersigned Name : Riris Mutiara P.S. S,Pd., M.Hum Position : Supervisor Certifies that Name : Meldyana Wijaya Student Number : 20150600012 Faculty : Social Sciences and Humanities Department : English Department Strata-1 Title of Thesis : “The Analaysis Moral Value Seen in Kevin Kwan’s novel Crazy Rich Asians” is eligible to take the thesis examination. Tangerang, July 05th 2019 Approved by, Acknowledged by, Supervisor Head of Department Riris Mutiara P.S.
    [Show full text]
  • The British Academy Film Awards Neverkissedagirl.Com Have a Go at Predicting the Results of This Year’S Baftas
    Reviews & Coverage The British Academy Film Awards NeverKissedAGirl.com Have a go at predicting the results of this year’s BAFTAs. Why not challenge your friends and family too. The awards will take place on Sunday April 11�� 2021. BEST FILM FILM NOT IN THE ENGLISH LANGUAGE BEST DIRECTOR The Mauritanian Minari Chloé Zhao (Nomadland) The Father Another Round Thomas Vinterberg (Another Round) Promising Young Woman Dear Comrades! Lee Isaac Chung (Minari) Nomadland Les Miserables Shannon Murphy (Babyteeth) The Trial of the Chicago 7 Quo Vadis, Aida? Jasmine Žbanić (Quo Vadis, Aida?) Sarah Gavron (Rocks) BEST LEADING ACTRESS BEST LEADING ACTOR Radha Blank (The Forty-Year-Old Version) Anthony Hopkins (The Father) Frances McDormand (Nomadland) Riz Ahmed (The Sound of Metal) Bukky Bakray (Rocks) Tahar Rahim (The Mauritanian) CASTING Calm With Vanessa Kirby (Pieces of a Woman) Mads Mikkelsen (Another Round) Horses Alfre Woodard (Clemency) Adarsh Gourav (The White Tiger) Judas and the Black Messiah Wunmi Mosaku (His House) Chadwick Boseman (Ma Rainey’s) Promising Black Bottom) Young Woman BEST SUPPORTING ACTRESS BEST SUPPORTING ACTOR Rocks Yuh-Jung Youn (Minari) Paul Raci (Sound of Metal) Minari Niamh Algar (Calm With Horses) Alan Kim (Minari) Kosar Ali (Rocks) Barry Keoghan (Calm With Horses) Dominique Fishback (Judas and the Black Messiah) Leslie Odom Jr. (One Night in Miami) Ashley Madekwe (County Lines) Daniel Kaluuya (Judas and the Black Messiah) Maria Bakalova (Borat Subsequent Moviefilm) Clarke Peters (Da 5 Bloods) BEST ADAPTED SCREENPLAY
    [Show full text]
  • Yoshioka, Shiro. "Princess Mononoke: a Game Changer." Princess Mononoke: Understanding Studio Ghibli’S Monster Princess
    Yoshioka, Shiro. "Princess Mononoke: A Game Changer." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. By Rayna Denison. London: Bloomsbury Academic, 2017. 25–40. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781501329753.ch-001>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 01:01 UTC. Copyright © Rayna Denison 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 25 Chapter 1 P RINCESS MONONOKE : A GAME CHANGER Shiro Yoshioka If we were to do an overview of the life and works of Hayao Miyazaki, there would be several decisive moments where his agenda for fi lmmaking changed signifi cantly, along with how his fi lms and himself have been treated by the general public and critics in Japan. Among these, Mononokehime ( Princess Mononoke , 1997) and the period leading up to it from the early 1990s, as I argue in this chapter, had a great impact on the rest of Miyazaki’s career. In the fi rst section of this chapter, I discuss how Miyazaki grew sceptical about the style of his fi lmmaking as a result of cataclysmic changes in the political and social situation both in and outside Japan; in essence, he questioned his production of entertainment fi lms featuring adventures with (pseudo- )European settings, and began to look for something more ‘substantial’. Th e result was a grave and complex story about civilization set in medieval Japan, which was based on aca- demic discourses on Japanese history, culture and identity.
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]
  • Being Someplace Else: the Theological Virtues in the Anime of Makoto Shinkai
    religions Article Being Someplace Else: The Theological Virtues in the Anime of Makoto Shinkai Matthew John Paul Tan School of Philosophy & Theology, University of Notre Dame Australia, Sydney 2008, Australia; [email protected] Received: 28 January 2020; Accepted: 27 February 2020; Published: 2 March 2020 Abstract: This work explores the ways in which the anime of Makoto Shinkai cinematically portrays the theological virtues of faith, hope and love. The article will explore each virtue individually, with specific reference to the work of Josef Pieper and Pope Emeritus Benedict XVI. In addition, it will juxtapose their explorations of these virtues with samples of Shinkai’s corpus of films. It will assert that the consistency of Shinkai’s work reveals several important parallels with the theological virtues. Faith is the encounter between one and another that reveals one’s nature. Hope is revealed by the distance between one and another, and is realised in traversing that distance to achieve an ecstatic reunion. Love, as the erotic attraction between one and another, is the driver that also sustains the journey and closes the distance. In spite of the similarities, important differences between the cinematic and theological will be highlighted. Keywords: anime; virtue; Pieper; Benedict; distance; faith; hope; love 1. Introduction In this work, I focus on the work of the anime director, Makoto Shinkai, who is part of a wave of anime directors rising to prominence after the mainstream success of Hayao Miyazaki. I chose Shinkai for a number of reasons, the first is that with Miyazaki ostensibly going into retirement, Shinkai is now being billed as one of the front-runners for the directors most likely to fill the void in anime that Miyazaki left behind.
    [Show full text]
  • Notes to Editors PRESS
    EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. Page 2 – Full Programme Information, including: BFI Player collections Akira Kurosawa Classics Yasujirō Ozu Cult Anime Independence 21st Century Early Films of Japan (1894-1914) J-Horror BFI Blu-ray and DVD The Japanese Cinema Book UK wide activity Seasons at BFI Southbank: The Golden Age Radicals and Rebels Anime 21st Century Japanese cinema Mediatheque collection – Lost in Japan International partnerships Page 10 – Stills and moving image assets Page 11 – Notes to Editors PRESS CONTACTS: General enquiries about BFI JAPAN: Liz Parkinson – PR Manager, BFI Cultural Programme - [email protected] | 020 7957 8918 / 07810 378203 Judy Wells – Director, Press and PR, BFI - [email protected] | 020 7957 8919 / 07984 180501 Interviews with BFI spokespeople and selected talent available on request via Liz Parkinson FULL PROGRAMME HIGHLIGHTS EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. BFI PLAYER COLLECTIONS The BFI’s VOD service BFI Player will be the premier destination for Japanese film this year with thematic collections launching over a six month period (May – October): Akira Kurosawa (11 May), Classics (11 May), Yasujirō Ozu (5 June), Cult (3 July), Anime (31 July), Independence (21 August), 21st Century (18 September) and J-Horror (30 October). All the collections will be available to BFI Player subscribers (£4.99 a month), with a 14 day free trial available to new customers. There will also be a major new free collection Early Films of Japan (1894-1914), released on BFI Player on 12 October, featuring material from the BFI National Archive’s significant collection of early films of Japan dating back to 1894.
    [Show full text]