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![Japanese Cinema’S Logic], Tokyo: SanIchi Shobo¯](https://docslib.b-cdn.net/cover/1770/japanese-cinema-s-logic-tokyo-san-ichi-shobo%C2%AF-121770.webp)
Japanese Cinema’S Logic], Tokyo: SanIchi Shobo¯
14 DARK VISIONS OF JAPANESE FILM NOIR Suzuki Seijun’s Branded to Kill (1967) Daisuke Miyao I think that motion pictures should create events by themselves . They should not restrict themselves to merely recreating what has actually happened . Once such events created on the screen occur in reality, motion pictures begin to have a relationship with the society for the first time. (Suzuki Seijun quoted in Ueno 1991: 114) Suzuki Seijun’s 1967 film Branded to Kill (Koroshi no rakuin – hereafter Branded) – the story of a contract killer being dismissed by a gangster organization – created a controversial real life incident when Nikkatsu, one of Japan’s oldest film studios, dismissed Suzuki, then one if its contract directors, ten months after its release. On April 25, 1968, Suzuki was directing the television series Aisai-kun konbanwa: aru ketto¯ [Good Evening, Mr Devoted Husband: A Duel]. He received a telephone call from the secretary of Hori Kyu¯saku, the president of Nikkatsu, and was told that the studio would not pay his salary for April. Just like that, Suzuki Seijun was fired from Nikkatsu. To be sure, Branded had not been a financial and critical success. The film journal Kinema Junpo¯ reported that the release of Branded on a double feature with A Bug That Eats Flowers (Hana wo ku¯ mushi, Nishimura Sho¯goro¯, 1967) ‘resulted in less than 2,000 viewers at Asakusa and Shinjuku and about 500 in Yu¯rakucho¯ on the second day’ (quoted in Ueno 1986: 336). Indeed, Yamatoya Atsushi (1994: 38), one of Branded’s screenwriters, recalls that the Nikkatsu theater in Shinjuku where the film was originally screened was more or less empty on its opening day. -
Notes for Chapter Re-Drafts
Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010. -
Download-To-Own and Online Rental) and Then to Subscription Television And, Finally, a Screening on Broadcast Television
Exporting Canadian Feature Films in Global Markets TRENDS, OPPORTUNITIES AND FUTURE DIRECTIONS MARIA DE ROSA | MARILYN BURGESS COMMUNICATIONS MDR (A DIVISION OF NORIBCO INC.) APRIL 2017 PRODUCED WITH THE ASSISTANCE OF 1 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Acknowledgements This study was commissioned by the Canadian Media Producers Association (CMPA), in partnership with the Association québécoise de la production médiatique (AQPM), the Cana- da Media Fund (CMF), and Telefilm Canada. The following report solely reflects the views of the authors. Findings, conclusions or recom- mendations expressed in this report are those of the authors and do not necessarily reflect the views of the funders of this report, who are in no way bound by any recommendations con- tained herein. 2 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Executive Summary Goals of the Study The goals of this study were three-fold: 1. To identify key trends in international sales of feature films generally and Canadian independent feature films specifically; 2. To provide intelligence on challenges and opportunities to increase foreign sales; 3. To identify policies, programs and initiatives to support foreign sales in other jurisdic- tions and make recommendations to ensure that Canadian initiatives are competitive. For the purpose of this study, Canadian film exports were defined as sales of rights. These included pre-sales, sold in advance of the completion of films and often used to finance pro- duction, and sales of rights to completed feature films. In other jurisdictions foreign sales are being measured in a number of ways, including the number of box office admissions, box of- fice revenues, and sales of rights. -
Title Call # Category
Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine -
Thesis Submitted to the Faculty of Graduate Studies and Research
University of Alberta The Performance of Identity in Wajdi Mouawad’s Incendies by Nicole Renault A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Drama ©Nicole Renault Fall 2009 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-54187-6 Our file Notre référence ISBN: 978-0-494-54187-6 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. -
Space and Narrative in the Films of Ozu1 Kristin
Space and Narrative in the Films of Ozu1 Kristin Thompson David Bordwell Downloaded from The surviving films of Ozu Yasujiro, being only gradually introduced to Western audiences, are already Un'" comfortably assimilated as screen.oxfordjournals.org noble, conservative works. Young j _.ese directors seem to con- sider Ozu's films old-fashioned, while English-language critics' praise their ' beautiful' stories of traditional Japanese family situations. Yet Ozu's films can most productively be read as modernist, inno- vative works. Because no rigorous critical analysis has been per- at Serials Department on May 3, 2011 formed upon Ozu's films (in English), we propose to make a first step by using a method adapted from Russian Formalist poetics. In ' On Literary Evolution ', Tynyanov writes, ' A work is correlated with a particular literary system depending on its deviation, its " difference " as compared with the literary system with which it is confronted ' (L Matejka and K Pomorska, eds: Readings in Russian Poetics, Cambridge, Mass 1971, p 72). In this article we shall situate Ozu's work against a paradigm of ' classical Hollywood cinema'. We have chosen to utilise the paradigm for several reasons: the entity it names coincides intuitively with our familiar sense of what' a film ' is; the paradigm has been explicitly codified by many of its practitioners (eg the host of ' rule-books ' on ' technique'); and the style of the paradigm has, historically, become a pervasive ' ordinary usage ' of the cinema. A background set consisting of this paradigm throws into relief certain stylistic alternatives present in Ozu's films. Though we plan in subsequent 1. -
Young Adult Realistic Fiction Book List
Young Adult Realistic Fiction Book List Denotes new titles recently added to the list while the severity of her older sister's injuries Abuse and the urging of her younger sister, their uncle, and a friend tempt her to testify against Anderson, Laurie Halse him, her mother and other well-meaning Speak adults persuade her to claim responsibility. A traumatic event in the (Mature) (2007) summer has a devastating effect on Melinda's freshman Flinn, Alexandra year of high school. (2002) Breathing Underwater Sent to counseling for hitting his Avasthi, Swati girlfriend, Caitlin, and ordered to Split keep a journal, A teenaged boy thrown out of his 16-year-old Nick examines his controlling house by his abusive father goes behavior and anger and describes living with to live with his older brother, his abusive father. (2001) who ran away from home years earlier under similar circumstances. (Summary McCormick, Patricia from Follett Destiny, November 2010). Sold Thirteen-year-old Lakshmi Draper, Sharon leaves her poor mountain Forged by Fire home in Nepal thinking that Teenaged Gerald, who has she is to work in the city as a spent years protecting his maid only to find that she has fragile half-sister from their been sold into the sex slave trade in India and abusive father, faces the that there is no hope of escape. (2006) prospect of one final confrontation before the problem can be solved. McMurchy-Barber, Gina Free as a Bird Erskine, Kathryn Eight-year-old Ruby Jean Sharp, Quaking born with Down syndrome, is In a Pennsylvania town where anti- placed in Woodlands School in war sentiments are treated with New Westminster, British contempt and violence, Matt, a Columbia, after the death of her grandmother fourteen-year-old girl living with a Quaker who took care of her, and she learns to family, deals with the demons of her past as survive every kind of abuse before she is she battles bullies of the present, eventually placed in a program designed to help her live learning to trust in others as well as her. -
Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. -
The Thin Red Line
THE THIN RED LINE by Terrence Malick Based on the Novel by James Jones USE FOR EDUCATIONAL PURPOSES ONLY To the Memory of James Jones And Those Who Served With Him They Live With Us It was an act of love. Those men on the line were my family, my home. They were closer to me than I can say, closer than my friends had been or ever would be. They had never let me down, and I could never do it to them. I had to be with them, rather than let them down and me live with the knowledge that I might have saved them. Men, I now know, do not fight for flag or country, for the Marine Corps or glory or any other abstraction. They fight for one another. Any man in combat who lacks comrades who will die for him, or for whom he is willing to die, is not a man at all. He is truly damned. William Manchester, the journalist, writing in Goodbye Darkness about his experience on Guadalcanal. (Like Fife, he walked away from the safety of a hospital in a secure area to return to his company in combat.) 2. COMPANY ROSTER (Partial) "C" CO, UMTH INF - Stein, James I, Capt, "C" Co Cmdg - Band, George R, 1st Lt, Exec - Whyte, William L, 2nd Lt, 1st P1 Cmdg - Blane, Thomas C, 2nd Lt, 2ns P1 Cmdg - Gore, Alberto O, 2nd Lt, 3rd P1 Cmdg - Culp, Robert (NMI), 2nd Lt, 4th (Weapons) P1 Cmdg EM 1st/Sgt - Welsh, Edward (NMI) S/Sgts - Grove, Ldr 1st P1 - Keck, Ldr 2nd P1 - MacTae, Supply - Stack, Ldr 3rd P1 - Storm, Mess Sgts - Becker, Sqd Ldr Rfl - Dranno, Co Clk - McCron, Sqd Ldr Rfl 3. -
Dragnet Girl
Saturday 15 March | 19:30 Dragnet Girl (Hijôsen No Onna) Dir. Yasujiro Ozu | Japan | 1933 | b/w | 1h 36m Accompanied live by Jane Gardner, Hazel Morrison and Roddy Long Screening supported by Film Hub Scotland, part of BFI’s Film Audience Network Yasujiro Ozu's silent films reveal not just his early mastery of the medium but also the popular basis of his art. One of the greatest of Ozu’s silent films, Dragnet Girl (1933) is a vigorous and stylish work that feels almost casual yet heartfelt. Ozu spins his little story (concocted by himself) of crime, love and redemption with skill while staying close to the concerns of the mass audience of early-1930s Japan, hungry for up-to-date thrills but ambivalent about the changes modernity had brought to the society. For a 21st-century audience that knows Ozu mainly for his later masterworks such as Late Spring (1949), Early Summer (1951) and Tokyo Story (1953), the subject matter of Dragnet Girl may come as a shock. No doubt this melodrama of the criminal underworld appears aberrant in the career of a filmmaker renowned for his elegiac films about middle-class families. The late Donald Richie, a pioneer in Western appreciation of Japanese cinema, mentions Dragnet Girl only fleetingly in his book on Ozu. Even the director himself wrote in his diary that he felt ill at ease working on the film. Ozu has been famously called “the most Japanese of directors,” but Dragnet Girl takes place in a universe that denies Japanese-ness. At the office where the heroine, Tokiko (Kinuyo Tanaka), works during the day, typists use Remington typewriters; at the boxing gym where Tokiko’s boyfriend, Joji (Joji Oka), hangs out and in the apartment the couple share, the walls are covered with posters for American boxing matches and Hollywood films (The Champ and All Quiet on the Western Front); the dance club where Tokiko and Joji spend their nights is conspicuously Western-style. -
The Selected Poems of Yosa Buson, a Translation Allan Persinger University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2013 Foxfire: the Selected Poems of Yosa Buson, a Translation Allan Persinger University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the American Literature Commons, and the Asian Studies Commons Recommended Citation Persinger, Allan, "Foxfire: the Selected Poems of Yosa Buson, a Translation" (2013). Theses and Dissertations. 748. https://dc.uwm.edu/etd/748 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FOXFIRE: THE SELECTED POEMS OF YOSA BUSON A TRANSLATION By Allan Persinger A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2013 ABSTRACT FOXFIRE: THE SELECTED POEMS OF YOSA BUSON A TRANSLATION By Allan Persinger The University of Wisconsin-Milwaukee, 2013 Under the Supervision of Professor Kimberly M. Blaeser My dissertation is a creative translation from Japanese into English of the poetry of Yosa Buson, an 18th century (1716 – 1783) poet. Buson is considered to be one of the most important of the Edo Era poets and is still influential in modern Japanese literature. By taking account of Japanese culture, identity and aesthetics the dissertation project bridges the gap between American and Japanese poetics, while at the same time revealing the complexity of thought in Buson's poetry and bringing the target audience closer to the text of a powerful and mov- ing writer. -
The Last Samurai. Transcultural Motifs in Jim Jarmusch's Ghost
Adam Uryniak Jagiellonian University in Kraków, Poland The Last Samurai. Transcultural Motifs in Jim Jarmusch’s Ghost Dog: The Way of the Samurai Abstract Ghost Dog: Way of the Samurai by - tions of USA, Europe and Japan. Jarmusch’s work can be example of contemporary culture trend named by Wolfgang WelschaJim Jarmusch transculturality. is a film combining According tocinematic his theory tradi the identity of the man is dependent on foreign elements absorbed by the culture in which he lives. Two main inspirations for the director are samurai tradition and bushido code origins of these elements, Jarmush is able to construct a coherent, multi-level narra- tive,on one at thehand, same and time tradition maintaining of gangster distance film ontowards the other. American Despite traditions. the culturally Referencing distant works by transgressive directors (J. P. Melville, Seijun Suzuki) Jarmusch becomes the spokesperson for the genre evolution and its often far-fetched influences. Ghost Dog combines the tradition of American gangster cinema and Japanese samurai (1999) is a collage of various film motifs and traditions. Jarmusch films. The shape of the plot refers to the Blaxploitation cinema, andyakuza direct moviesinspiration, by Seijun expressed Suzuki. by Allspecific this isquotations, spiced up arewith the references gloomy crime to Japanese novels literatureby Jean-Pierre and zen Melville, philosophy. as well In as an brutal interview and withblack Janusz humour-filled Wróblewski di- rector commented on his actions: 138 Adam Uryniak I mix styles up in order to get distance. Not in order to ridicule the hero. And why does the gangster style dominate? I will answer indirectly..