World Experts Select Centre of Excellence on East Asia
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Copyrighted Material
Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
The Insect Woman – Contextualising Imamura (And The
University of Gothenburg Faculty of Humanities The Insect Woman – Contextualising Imamura (and the Intricacies of Global Cinema Study) Bachelor’s thesis in film studies by Noak Snow Gröning Presented spring term 2018 Tutor: Anna Backman Rogers Course: FL1801 Index 1. Abstract 3 2. Introduction 4 3. Purpose, Issues and Demarcations 6 4. Further Context 9 5. Earlier Research and Fields of Study 10 6. Theoretical Frameworks 10 7. Materials and Methods 18 8. Disposition and Historical Context 19 9.1 Analysis – Story Summary 25 9.2 Analysis – Themes and Aesthetic 29 9.3 Analysis – The Insect Woman and Early Summer 32 10. Conclusion 36 11. References 39 2 1. Abstract This essay represents an attempt to further the understanding of the films by Japanese New Wave director Shohei Imamura through the use of post-colonial theory, and political and cultural contextualisation; it also offers discussion on the inherent issues of discussing non- Western cinema from a Western point-of-view, and how post-colonial theory can be used tentatively by Western writers to prevent the perpetuation of orientalism and the generalisation of non-Western cultures as a single entity simply titled ‘the Other’. This is done through an in-depth exploration of Western film theory’s problematic relationship to Asian cinema, along with disposition and historical contextualisation relevant to Imamura’s films and the Japanese New Wave movement of the 1960s. This is then followed by an analysis on Imamura’s sixth film, The Insect Woman, released in 1963, in which I implement post-colonial theory while also comparing it to Yasujiro Ozu’s 1951 motion picture Early Summer, a film which addresses similar themes but in widely different ways. -
Shohei Imamura an Icarus Films Release
A MAN VANISHES A film by Shohei Imamura An Icarus Films Release “Critic’s Pick! A mercurial mystery, a vertiginous drama and the very stuff of cinema.” -- Manohla Dargis, The New York Times Contact: (718) 488-8900 www.IcarusFilms.com Serious documentaries are good for you. LOGLINE When a seemingly contented businessman disappears without a trace, his fiancé goes to great lengths to find him in this gorgeously photographed black- and-white film from master director and two-time Palme d’Or winner Shohei Imamura. SYNOPSIS One of the most important and complex works by two-time Palme d’Or winning director Shohei Imamura, A Man Vanishes began as an investigation into one of the thousands of missing persons cases that occur in Japan each year. The film follows the case of Tadashi, a handsome businessman who has suddenly vanished. Imamura and his crew interview the man’s fiancée, Yoshie, who is desperately searching for him, and become increasingly involved in his life. But the “investigation” casts a shadow of doubt over the couple’s relationship, Tadashi’s business ventures, his relationship with Yoshie’s sister, and even the investigating film director, Imamura himself, who may not be what he seems to be. The film culminates in a stunning scene that explodes any stable sense of fiction and reality. Radical film in scope, technique, and aesthetic, A Man Vanishes is distills many of Imamura’s central themes and obsessions and make it an early example of what film historian Donald Ritchie called, “One of Imamura’s major themes: [the] confrontation of illusion with reality (and the resultant problem of telling which is which).” PRESS QUOTES A MAN VANISHES “Critic’s Pick! A mercurial mystery, a vertiginous drama and the very stuff of cinema.” –Manohla Dargis, The New York Times “The explosively provocative film progressively and aggressively blurs distinctions between documentary and fiction. -
Cinefiles Document #27323
Document Citation Title Pigs, pimps and pornographers: the films of Shohei Imamura Author(s) James Quandt Source Cinematheque Ontario/a division of Toronto International Film Festival Group Date Type program note Language English Pagination 34-39 No. of Pages 6 Subjects Imamura, Shohei (1926-2006), Tokyo, Japan Film Subjects Jinruigaku nyumon (The pornographers), Imamura, Shohei, 1966 Ningen johatsu (A man vanishes), Imamura, Shohei, 1967 Kamigami no fukaki yokubo (The profound desire of the gods), Imamura, Shohei, 1968 Zegen (The pimp), Imamura, Shohei, 1987 Nippon sengoshi - Madamu Onboro no seikatsu (History of postwar Japan as told by a bar hostess), Imamura, Shohei, 1970 Eijanaika (So what), Imamura, Shohei, 1981 Buta to gunkan (Pigs and battleships), Imamura, Shohei, 1961 Akai satsui (Intentions of murder), Imamura, Shohei, 1964 Kuroi ame (Black rain), Imamura, Shohei, 1989 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) Fukushu suruwa ware ni ari (Vengeance is mine), Imamura, Shohei, 1979 Nusumareta yokujo (Stolen desire), Imamura, Shohei, 1958 Nishi Ginza Ekimae (Nishi Ginza Station), Imamura, Shohei, 1958 Nianchan (My second brother), Imamura, Shohei, 1959 Karayuki-san (Karuyuki-san, the making of a prostitute), Imamura, Shohei, 1975 Narayama bushi-ko (The ballad of Narayama), Imamura, Shohei, 1982 Nippon konchuki (The insect woman), Imamura, Shohei, 1963 Hateshinaki yokubo (Endless desire), Imamura, Shohei, 1958 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) WARNING: This material may be protected by copyright law (Title 17 U.S. -
Revista Cinema Completa
Sumário Index Edição e Propriedade ta Rua de S. Catarina, Editorial 3 Editorial 730 - 2° Tras. 4000-446 Porto Portugal Cineclubismo Film Societies Tel/Fax - (351) 22 200 02 53 E-mail: [email protected] Eleições 2007-2009 6 FPCC Elections 2007-2009 PVP € 3,50 (Cineclubes € 3,00) Registo na DGCS nº 109120 Visita “surpresa” do Presidente 7 "Surprise" Visit to Portugal from the Depósito Legal n° 88347/95 Cultural da Federação Interna- Cultural President of the Interna- Os textos assinados são da res- cional de Cineclubes a Portugal tional Federation of Film Societies ponsabilidade dos respectivos au- tores e expressam a sua opinião. Notícias do access CINEMA 8 access CINEMA News Os restantes textos são da respon- sabilidade da Direcção da Revista. CINESUD: a alternativa 12 CINESUD: an alternative à distribuição comercial to commercial distribution Revista nº 36 Janeiro • Fevereiro • Março de 2007 O primeiro Cineclube Mexicano 16 The first Mexican Film Society Órgão da Federação Portuguesa de Cineclubes Cineclubes de todo o mundo 22 Film societies from around the world Director Honorário da FPCC: homenageiam Manoel de Oliveira pay homage to Manoel de Oliveira Henrique Alves Costa Director: João Paulo Macedo Memória Memory Direcção Executiva: Paulo Martins Produção e coordenação: Juan Carlos Arch 26 Juan Carlos Arch Patrícia Gilvaia Design gráfico e paginação: Tributo a Shohei Imamura 28 Tribute to Shohei Imamura Margarida Vilar de Macedo Tradução: Branca Sampaio Revisão: Manuel Montenegro, Festival Festival Patrícia Gilvaia, Paulo Martins Secretariado: Cristina Silva 54º Festival Internacional 37 54th San Sebastian de Cinema de San Sebastián International Film Festival Textos: Carlos M. -
AFI PREVIEW Is Published by the American Work; an Austrian Lay-About, Ducking Mount- 2006 Oscar Submission from Bulgaria for Film Institute
CONTENTS OPENING NIGHT 2 20th Annual European Union Film HHHH Showcase Manoel de Oliveira in Person with The Best in European Cinema… CHRISTOPHER O J E without the jetlag T E D COLUMBUS, S E M L I O F J f THE ENIGMA E o T y E 7 18th Washington Jewish Film Festival s D e t S r E [Cristóvão u o M c L I The Original CHICAGO–with Live Music! F f Colombo— o Manoel de Oliveira y s e Music and Film: Terence Blanchard Live! t r u O Enigma] o c Thursday, November 1, 8:00 CHRISTOPHER COLUMBUS, THE ENIGMA 8 Rialto Redux: 10th Anniversary Portugal’s living cinematic legend Manoel de Oliveira dramatizes scholar Manuel Retrospective November 1 THROUGH 20 Luciano da Silva’s quest to prove that Christopher Columbus had a hidden identi- AFI presents the 20th annual European Union ty—the famous Italian was born in a small Portuguese town. Official Selection, 2007 10 A Man Vanishes: The Legacy of Film Showcase, a first-class selection of films Venice and Toronto Film Festivals. DIR/SCR Manoel de Oliveira, based on the book Shohei Imamura from EU member states including US pre- Christopher Columbus was Portuguese by Manuel Luciano da Silva and mieres, film festival award winners and box- Sílvia Jorge de Silva; PROD François d’Artemare. Portugal/France, 2007, color, 70 min. in English and Portugese with English subtitles. 11 Special Presentation: THE 400 office hits. BLOWS AFI thanks the cultural counselors of the EU ENCORE PRESENTATION: Sunday, November 4, 12:30 member states and the European Commission Mr. -
Imamura Shōhei and the Ruse of Memory1
Article The Never-Ending Pacific War: Imamura Shohei on the Ruse of Memory Mihalopoulos, Bill Available at http://clok.uclan.ac.uk/21642/ Mihalopoulos, Bill ORCID: 0000-0001-6112-6094 (2018) The Never-Ending Pacific War: Imamura Shohei on the Ruse of Memory. Japan Forum . ISSN 0955-5803 It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1080/09555803.2018.1442363 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk The Never-Ending Pacific War: Imamura Shōhei and the Ruse of Memory1* Bill Mihalopoulos In my work . I want to enter a character’s heart. I want to capture the smallest action, the finest nuance, the most intimate psychological expression because filmmakers must concern themselves with much more than facades. Shōhei Imamura (Imamura 1999:126) Imamura Shōhei (1926–2006) is an acclaimed Japanese director of commercial films, and regularly associated with one of the richly creative periods of Japanese cinema – the so called ‘new wave’ (nuberu bagu) of the 1960s. -
Japanese Cinema: Texts and Contexts
JAPANESE CINEMA: TEXTS AND CONTEXTS Japanese Cinema: Texts and Contexts includes twenty-four chapters on key films of Japanese cinema, from the silent era to the present day, providing a com- prehensive introduction to Japanese cinema history and Japanese culture and society. Studying a range of important films, from Late Spring, Seven Samurai and In the Realm of the Senses to Godzilla, Hana-Bi and Ring, the collection includes discus- sion of all the major directors of Japanese cinema including Ozu, Mizoguchi, Kurosawa, Oshima, Suzuki, Kitano and Miyazaki. Each chapter discusses the film in relation to aesthetic, industrial or critical issues and ends with a complete filmography for each director. The book also includes a full glossary of terms and a comprehensive bibliography of readings on Japanese cinema. Bringing together leading international scholars and showcasing pioneering new research, this book is essential reading for all students and general readers interested in one of the world’s most important film industries. Contributors: Carole Cavanaugh, Darrell William Davis, Rayna Denison, David Desser, Linda Ehrlich, Freda Freiberg, Aaron Gerow, Alexander Jacoby, D. P. Martinez, Keiko I. McDonald, Joan Mellen, Daisuke Miyao, Mori Toshie, Abé Mark Nornes, Alastair Phillips, Michael Raine, Donald Richie, Catherine Russell, Isolde Standish, Julian Stringer, Mitsuyo Wada-Marciano, Yomota Inuhiko, Mitsuhiro Yoshimoto. Alastair Phillips is Associate Professor in Film Studies at the University of Warwick. Julian Stringer is Associate Professor in Film Studies at the University of Nottingham. JAPANESE CINEMA: TEXTS AND CONTEXTS Edited by Alastair Phillips and Julian Stringer First published 2007 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016, USA Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2007. -
A Few of My Favourite Classic Films
A Few of My Favorite Classic Films Titles listed alphabetically within each section ANTICHRIST Lars von Trier 5 5 AUS DEM LEBEN DER MARIONETTEN Ingmar Bergman 5 5 BONNES FEMMES, LES Claude Chabrol 5 5 FRANCISCA Manoel de Oliveira 5 5 HADEWIJCH Bruno Dumont 5 5 HIROSHIMA MON AMOUR Alain Resnais 5 5 HUMANITÉ Bruno Dumont 5 5 INDIA SONG Marguerite Duras 5 5 LEAVING LAS VEGAS Mike Figgis 5 5 MÉPRIS, LE (CONTEMPT) Jean-Luc Godard 5 5 MULHOLLAND DRIVE David Lynch 5 5 СОЛЯРИС (SOLARIS) Andrei Tarkovsky 5 5 THOMAS L'IMPOSTEUR Georges Franju 5 5 THREE WOMEN Robert Altman 5 5 TIERRA Julio Medem 5 5 TROIS COURONNES DU MATELOT, LES Raúl Ruiz 5 5 TYSTNADE (THE SILENCE) Ingmar Bergman 5 5 UNBEKANNTE, DIE Frank Wysbar 5 5 ABRE LOS OJOS Alejandro Amanàbar 5 4 ANNÉE DERNIÈRE À MARIENBAD, L’ Alain Resnais 5 4 BÜCHSE DER PANDORA, DIE (PANDORA’S BOX) G.W. Pabst 5 4 DOLCE VITA, LA Federico Fellini 5 4 ECLISSE, L' (ECLIPSE) Michelangelo Antonioni 5 4 EYES WIDE SHUT Stanley Kubrick 5 4 FÄHRMANN MARIA Frank Wysbar 5 4 FALLING LESSONS Amy Halpern 5 4 FLANDRES Bruno Dumont 5 4 FRESH Boaz Yakin 5 4 GATOPARDO, IL Luchino Visconti 5 4 HÉLAS POUR MOI Jean-Luc Godard 5 4 HISTOIRE(S) DU CINÉMA Jean-Luc Godard 5 4 HORS SATAN Bruno Dumont 5 4 LIT DE LA VIERGE, LE Philippe Garrel 5 4 MELANCHOLIA Lars von Trier 5 4 NATTVARDSGÄSTERNA (WINTER LIGHT) Ingmar Bergman 5 4 NOTTE, LA Michelangelo Antonioni 5 4 ORDET Carl Th. -
Historical Dictionary of Japanese Cinema
HISTORICAL DICTIONARIES OF LITERATURE AND THE ARTS Jon Woronoff, Series Editor Science Fiction Literature, by Brian Stableford, 2004. Hong Kong Cinema, by Lisa Odham Stokes, 2007. American Radio Soap Operas, by Jim Cox, 2005. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. Fantasy Literature, by Brian Stableford, 2005. Australian and New Zealand Cinema, by Albert Moran and Errol Vieth, 2006. African-American Television, by Kathleen Fearn-Banks, 2006. Lesbian Literature, by Meredith Miller, 2006. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. British Radio, by Seán Street, 2006. German Theater, by William Grange, 2006. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. Sacred Music, by Joseph P. Swain, 2006. Russian Theater, by Laurence Senelick, 2007. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. Postmodernist Literature and Theater, by Fran Mason, 2007. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. Australian Radio and Television, by Albert Moran and Chris Keating, 2007. Polish Cinema, by Marek Haltof, 2007. Old Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. Renaissance Art, by Lilian H. Zirpolo, 2008. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. American Theater: Modernism, by James Fisher and Felicia Hardison Londré, 2008. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. Horror Cinema, by Peter Hutchings, 2008. Westerns in Cinema, by Paul Varner, 2008. Chinese Theater, by Tan Ye, 2008. Italian Cinema, by Gino Moliterno, 2008. Architecture, by Allison Lee Palmer, 2008. Russian and Soviet Cinema, by Peter Rollberg, 2008. African American Theater, by Anthony D. Hill, 2009.