DOCSLIB.ORG

É“Ƒ木Ƹ…É¡º Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
É“Ƒ木Ƹ…É¡º Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨) 铃木清顺 电影 串行 (大全) Youth of the Beast https://zh.listvote.com/lists/film/movies/youth-of-the-beast-3209868/actors Tattooed Life https://zh.listvote.com/lists/film/movies/tattooed-life-3213596/actors The Flower and the Angry https://zh.listvote.com/lists/film/movies/the-flower-and-the-angry-waves-3232701/actors Waves Princess Raccoon https://zh.listvote.com/lists/film/movies/princess-raccoon-3403453/actors Yumeji https://zh.listvote.com/lists/film/movies/yumeji-4184168/actors A Tale of Sorrow and https://zh.listvote.com/lists/film/movies/a-tale-of-sorrow-and-sadness-4659954/actors Sadness Carmen from Kawachi https://zh.listvote.com/lists/film/movies/carmen-from-kawachi-5043628/actors Eight Hours of Terror https://zh.listvote.com/lists/film/movies/eight-hours-of-terror-5348979/actors Everything Goes Wrong https://zh.listvote.com/lists/film/movies/everything-goes-wrong-5417991/actors Fighting Elegy https://zh.listvote.com/lists/film/movies/fighting-elegy-5447889/actors Detective Bureau 2-3: Go to https://zh.listvote.com/lists/film/movies/detective-bureau-2-3%3A-go-to-hell-bastards%21-55526595/actors Hell Bastards! Go to Hell, Hoodlums! https://zh.listvote.com/lists/film/movies/go-to-hell%2C-hoodlums%21-5575043/actors Kanto Wanderer https://zh.listvote.com/lists/film/movies/kanto-wanderer-6365551/actors Man with a Shotgun https://zh.listvote.com/lists/film/movies/man-with-a-shotgun-6746486/actors Our Blood Will Not Forgive https://zh.listvote.com/lists/film/movies/our-blood-will-not-forgive-7110563/actors Stories of Bastards: Born https://zh.listvote.com/lists/film/movies/stories-of-bastards%3A-born-under-a-bad-star-7620043/actors Under a Bad Star Take Aim at the Police Van https://zh.listvote.com/lists/film/movies/take-aim-at-the-police-van-7677558/actors The Bastard https://zh.listvote.com/lists/film/movies/the-bastard-7715784/actors The Naked Woman and the https://zh.listvote.com/lists/film/movies/the-naked-woman-and-the-gun-7753049/actors Gun Underworld Beauty https://zh.listvote.com/lists/film/movies/underworld-beauty-7883941/actors Victory Is Mine https://zh.listvote.com/lists/film/movies/victory-is-mine-7927506/actors Voice Without a Shadow https://zh.listvote.com/lists/film/movies/voice-without-a-shadow-7939495/actors Young Breasts https://zh.listvote.com/lists/film/movies/young-breasts-8057986/actors 阳炎座 https://zh.listvote.com/lists/film/movies/%E9%98%B3%E7%82%8E%E5%BA%A7-1087238/actors https://zh.listvote.com/lists/film/movies/%E7%84%A1%E6%95%B5%E7%89%B9%E5%8B%99%E4%B9%8B%E9%BB%83%E9%87%91%E5%82%B3%E8%AA%AA- 無敵特務之黃金傳說 1154751/actors 东京æµæ​ µªè€… https://zh.listvote.com/lists/film/movies/%E4%B8%9C%E4%BA%AC%E6%B5%81%E6%B5%AA%E8%80%85-128320/actors æ–° 殺之烙å°​ https://zh.listvote.com/lists/film/movies/%E6%96%B0-%E6%AE%BA%E4%B9%8B%E7%83%99%E5%8D%B0-1629256/actors æ˜¥å¦‡ä¼ https://zh.listvote.com/lists/film/movies/%E6%98%A5%E5%A6%87%E4%BC%A0-3136642/actors 肉体之门 https://zh.listvote.com/lists/film/movies/%E8%82%89%E4%BD%93%E4%B9%8B%E9%97%A8-3595635/actors æµæ​ µªè€…之æŒ​ https://zh.listvote.com/lists/film/movies/%E6%B5%81%E6%B5%AA%E8%80%85%E4%B9%8B%E6%AD%8C-4184126/actors å¡​ 波涅痛å“​ https://zh.listvote.com/lists/film/movies/%E5%8D%A1%E6%B3%A2%E6%B6%85%E7%97%9B%E5%93%AD-5036093/actors ææ​ €–剧场ä¸å​ ¹³è¡¡ https://zh.listvote.com/lists/film/movies/%E6%81%90%E6%80%96%E5%89%A7%E5%9C%BA%E4%B8%8D%E5%B9%B3%E8%A1%A1-5905205/actors åç​ ‰Œæ®ºæ‰‹ https://zh.listvote.com/lists/film/movies/%E5%90%8D%E7%89%8C%E6%AE%BA%E6%89%8B-729671/actors.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Unseen Femininity: Women in Japanese New Wave Cinema
    UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA by Candice N. Wilson B.A. in English/Film, Middlebury College, Middlebury, 2001 M.A. in Cinema Studies, New York University, New York, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Candice N. Wilson It was defended on April 27, 2015 and approved by Marcia Landy, Distinguished Professor, Film Studies Program Neepa Majumdar, Associate Professor, Film Studies Program Nancy Condee, Director, Graduate Studies (Slavic) and Global Studies (UCIS), Slavic Languages and Literatures Dissertation Advisor: Adam Lowenstein, Director, Film Studies Program ii Copyright © by Candice N. Wilson 2015 iii UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA Candice N. Wilson, PhD University of Pittsburgh, 2015 During the mid-1950s to the early 1970s a subversive cinema, known as the Japanese New Wave, arose in Japan. This dissertation challenges critical trends that use French New Wave cinema and the oeuvre of Oshima Nagisa as templates to construct Japanese New Wave cinema as largely male-centered and avant-garde in its formal aesthetics. I argue instead for the centrality of the erotic woman to a questioning of national and postwar identity in Japan, and for the importance of popular cinema to an understanding of this New Wave movement. In short, this study aims to break new ground in Japanese New Wave scholarship by focusing on issues of gender and popular aesthetics.
    [Show full text]
  • Seijun Suzuki: O Yakuza Moderno Por Rodrigo Ravelli
    "Críticos diziam que filmes deveriam ter contextos sociais e pontos de vista humanistas, mas eu estava me preocupando em fazer filmes de entretenimento." Essa é a resposta que Seijun Suzuki dá a um entrevistador após ser perguntado sobre as escolhas artísticas que tomava em seus filmes, estes em sua grande maioria filmes de ação yakuza financiados pelo estúdio Nikkatsu. Suzuki é um ponto em evidência durante quase toda a década de 60 no cinema japonês. Após uma breve formação como assistente de direção na Shochiku, começou a dirigir filmes para a Nikkatsu, famosa por filmes de ação yakuza epink films , e através de mais de quarenta filmes em pouco mais de uma década, deixou sua marca no estúdio até ser demitido em 1967. De início com um olhar leigo para a obra de Suzuki é quase impossível não questionar o porquê de seus excessos de cor, luz e encenação, todos calculadamente espalhados pelo quadro, e é aí que Suzuki é convicto em sua resposta ao crítico. Suzuki responde simpaticamente que suas escolhas estão sempre no âmbito de fazer um filme interessante para o público, incluindo quebrar noções de espaço entre seus cortes, fazer diversas cenas de ação com câmera na mão e transitar entre preto-e-branco e colorido num mesmo filme. Escolhas bem específicas que quebram muito de qualquer montagem clássica, remetendo às vanguardas modernistas que surgiam na mesma época. Apesar de negar estar relacionado a qualquer vanguarda e afirmar que a semelhança destas com seus filmes era apenas coincidência, é quase impossível negar que Suzuki foi um nome de grande importância para tais movimentos.
    [Show full text]
  • Delinquent Youth: the Ofuna New Wave
    Anthós Volume 7 Issue 1 Article 8 9-2015 Delinquent Youth: The Ofuna New Wave Basil Swartzfager Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos Part of the Other Film and Media Studies Commons, and the Visual Studies Commons Let us know how access to this document benefits ou.y Recommended Citation Swartzfager, Basil (2015) "Delinquent Youth: The Ofuna New Wave," Anthós: Vol. 7: Iss. 1, Article 8. https://doi.org/10.15760/anthos.2015.63 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Delinquent Youth: The Ofuna New Wave As in other booming post-war economies, such as the United States and Italy, the late- 1950s began a sea change in Japanese media consumerism. A new youth market had emerged full of excitable adolescents with money to burn and a hunger for entertainment. The popular success of the taiyozoku films, which targeted these young consumers by focusing on rebellious disenfranchised adolescents, inspired one of Japan’s largest studios, Shochiku Co. Ltd., to break with its tradition of classical Japanese drama (best exemplified by the studio’s two biggest directors, Yasujiro Ozu and Mikio Naruse) and attempt to capture some of this new capital. Thus, in 1960, studio head Shiro Kido promoted four promising young assistant directors to the rank of full director and, joining Nagisa Oshima who had been promoted the year before, these five became known as the Ofuna New Wave (“Ofuna” for the location of Shochiku studio headquarters).
    [Show full text]
  • Feature Films in the Japan Foundation Toronto Library
    Feature Films in The Japan Foundation Toronto Library * In alphabetical order by director/producer and title ** Region code listed if incompatible with region code used in North America only Directors A-D Format Director/Producer Title Language Call Number (Region) Anno, Hideaki Shin Godzilla Japanese audio with English subtitles; BR FLM ANN 2017 庵野 秀明 シン・ゴジラ English audio DVD Aoyama, Shinji EM embalming Japanese audio with English subtitles DVD FLM AOY 2005 青山 真治 EM エンバーミング Aoyama, Shinji An obsession Japanese audio with English subtitles DVD FLM AOY 2005 青山 真治 冷たい血 Aoyama, Shinji Wild life Japanese audio with English subtitles DVD FLM AOY 2005 青山 真治 Brooks, Sue Japanese story English audio DVD FLM BRO 2004 Chiba, Sonny Yellow fangs Japanese audio with English subtitles DVD FLM CHI 2009 千葉 真一 リメインズ : 美しき勇者たち Chikaura, Kei Complicity Japanese and Mandarin audio with DVD FLM CHI 2020 近浦 啓 コンプリシティ : 優しい共犯 English subtitles Coixet, Isabel Map of the sounds of Tokyo English and Japanese audio with DVD FLM COI 2009 イザベル・コイシエ ナイト・トーキョー・デイ English subtitles Le coeur régulier English, French and Japanese audio d'Alcantara, Vanja DVD FLM DAL 2016 心の静寂 with English subtitles Deme, Masanobu Baruto no gakuen Japanese and German audio with DVD (2) FLM DEM 2006 出目 昌伸 バルトの楽園 Japanese subtitles only Created May 2021 German, English and Japanese audio Dörrie, Doris Cherry blossoms DVD FLM DOR 2008 with English subtitles Dörrie, Doris Enlightenment guaranteed German audio with English subtitles DVD FLM DOR 2002 Directors E-F BR Eastwood, Clint Flags of
    [Show full text]
  • Diamond Guys Booklet
    ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CONTENTS 5 Voice Without a Shadow – Credits 6 Voices Behind the Shadow by Stuart Galbraith IV 15 Red Pier – Credits 16 Tough Guy, Nice Girl, Hard Choice: Red Pier by Mark Schilling 26 The Rambling Guitarist – Credits ARROW VIDEO ARROW28 North by VIDEONorthwest: The Timeless Adventures of a Rambling Guitarist by Tom Mes 38 About the Transfers ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW2 VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO VOICE WITHOUT A SHADOW Kagenaki koe Seijun Suzuki, 1958 Released 22 October 1958 CAST Yôko Minamida as Asako Hideaki Nitani as Ishikawa Nobuo Kaneko as Kawai Toshio Takahara as Kotani Shinsuke Ashida as Muraoka Jô Shishido as Hamazaki ARROW VIDEO ARROW VIDEO CREW Directed by Seijun Suzuki Produced by Kaneo Iwai Written by Ryûta Akimoto and Susumu Saji Based on the story “Voice” by Seichô Matsumoto ARROW VIDEO ARROWMusic by Hikaru HayashiVIDEO Director of Photography Kazue Nagatsuka Edited by Akira Suzuki Production Design by Takeharu Sakaguchi ARROW VIDEO ARROW5 VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO VOICES BEHIND THE SHADOW by Stuart Galbraith IV Unique among his generation of Japanese filmmakers, Seijun Suzuki (b.
    [Show full text]
  • Japanese Cinema
    RESEARCH MATERIAL JAPAN 2021 A QUICK HISTORY OF JAPANESE CINEMA 1890’s- 1920’s: the silent era Matsunosuke Onoe Cinema arrived in Japan at the end of 19th century, but the Japanese had already a rich tradition of moving pictures with pre-cinematic devices such as Utushi-e, a type of magic lantern that become popular in Japan in the 19th century. Early 20th century, most of Japanese cinema theatres employed Benshi and live musicians. The Benshi are Japanese storytellers performing live narration for silent films. The 1923 earthquake, the bombing of Tokyo during WWII and Japan’s natural humidity partially destroyed the film stock of this period. There are no many surviving films. Films • Geisha No Teodori, 1899: first film produced in Japan. Only some fragments of the film remain intact. Important names: Matsunosuke Onoe, a Kabuki actor who appeared in over 1000 films between 1909 and 1926, he’s considered the first star of Japanese cinema. Shozo Makino, director and film pioneer, he popularized the Jidaigeki (period pieces) The 1930s Heihachirō Ōkawa and Sachiko Chiba in Wife! Be Like A Rose, directed by Mikio Naruse, 1935 Talkie films arrived in Japan in the early 30s, but silent films were still being produced, until the Benshi’s strike (1932). In the early 30’s, Kenji Mizoguchi and a group of progressive filmmakers produced left-leaning “social tendency films”. But Japan’s increasingly militarist government instituted a crackdown on the political content of films, which were expected to conform a national policy of pro-family and pro- military values.
    [Show full text]
  • Seijun Suzuki (1923-2017) Ariel Esteban Cayer
    Document généré le 25 sept. 2021 00:16 24 images Éloge d’un cinéma mercenaire : Seijun Suzuki (1923-2017) Ariel Esteban Cayer Cinéma et théâtre : abattre les murs Numéro 182, mai–juillet 2017 URI : https://id.erudit.org/iderudit/85571ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article Cayer, A. E. (2017). Éloge d’un cinéma mercenaire : Seijun Suzuki (1923-2017). 24 images, (182), 38–40. Tous droits réservés © 24/30 I/S, 2017 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CHEMINS DE TRAVERSE Éloge d’un cinéma mercenaire : Seijun Suzuki (1923-2017) par Ariel Esteban Cayer Tokyo Drifter eijun Suzuki, né Seitaro Suzuki, demeure l’un des plus gangster. Les diamants au cœur de l’intrigue se retrouveront S grands esthètes de la série B. S’il est passé à l’Histoire avec également avalés par un truand, puis finalement dissimulés des œuvres telles que Tokyo Drifter (1967) et Branded dans la poitrine d’un mannequin. On passe alors du corps à to Kill (1968), qui ont amené la Nikkatsu à le congédier sous sa représentation symbolique : d’une représentation réaliste à prétexte d’avoir réalisé des films incompréhensibles, il est une approche picturale qui deviendra rapidement la marque aujourd’hui important d’aller au-delà de cette fameuse anecdote.
    [Show full text]
  • Agenda Cultural Del Centro Cultural E Informativo De La Embajada Del Japón 2014 Actualizado: 5/11/2014
    1 Agenda Cultural del Centro Cultural e Informativo de la Embajada del Japón 2014 Actualizado: 5/11/2014 ENERO Fecha Actividad Lugar Organizador/es Lun. 2 de dic. Al Exposición de obras seleccionadas en el Centro Cultural e Informativo de la Embajada del Japón Centro Cultural e Informativo de la lun. 27 7º Concurso de Manga Bouchard 547, Piso 15, CABA Embajada del Japón, Centro de Informes: (011) 4318-8240, [email protected] Exbecarios Lun. 6 al Vie. 14 Exposición de Calendarios Japoneses 2014 Centro Cultural e Informativo de la Embajada del Japón Centro Cultural e Informativo de la de marzo (al finalizar la exposición los calendarios serán sorteados Bouchard 547, Piso 15, CABA Embajada del Japón entre el público asistente) Informes: (011) 4318-8240, [email protected] Jue. 23 y Vie. 24, Taller de Cultura Japonesa para niños Centro Cultural e Informativo de la Embajada del Japón Centro Cultural e Informativo de la 15:00hs. Actividad gratuita con inscripción previa. Bouchard 547, Piso 15, CABA Embajada del Japón Con la colaboración de voluntarios JICA Informes: (011) 4318-8240, [email protected] Colabora: JICA Vie. 24 y Sáb. 25 10° Festival de la Algarrobeada Cerro Colorado, Provincia de Córdoba Comisión del Festival Participación del guitarrista japonés Shiro OTAKE Colabora: Centro Cultural e Informativo de la Embajada del Japón Vie. 31 Homenaje a Atahualpa Yupanqui Agua Escondida, Provincia de Córdoba Fundación Atahualpa Yupanqui Participará el guitarrista Shiro OTAKE Colabora: Centro Cultural e Informativo de la Embajada del Japón FEBRERO Fecha Actividad Lugar Organizador/es Lun.
    [Show full text]
  • Seijun Suzuki (1923-2017) Ariel Esteban Cayer
    Document generated on 09/27/2021 3:05 p.m. 24 images Éloge d’un cinéma mercenaire : Seijun Suzuki (1923-2017) Ariel Esteban Cayer Cinéma et théâtre : abattre les murs Number 182, May–July 2017 URI: https://id.erudit.org/iderudit/85571ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Cayer, A. E. (2017). Éloge d’un cinéma mercenaire : Seijun Suzuki (1923-2017). 24 images, (182), 38–40. Tous droits réservés © 24/30 I/S, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CHEMINS DE TRAVERSE Éloge d’un cinéma mercenaire : Seijun Suzuki (1923-2017) par Ariel Esteban Cayer Tokyo Drifter eijun Suzuki, né Seitaro Suzuki, demeure l’un des plus gangster. Les diamants au cœur de l’intrigue se retrouveront S grands esthètes de la série B. S’il est passé à l’Histoire avec également avalés par un truand, puis finalement dissimulés des œuvres telles que Tokyo Drifter (1967) et Branded dans la poitrine d’un mannequin. On passe alors du corps à to Kill (1968), qui ont amené la Nikkatsu à le congédier sous sa représentation symbolique : d’une représentation réaliste à prétexte d’avoir réalisé des films incompréhensibles, il est une approche picturale qui deviendra rapidement la marque aujourd’hui important d’aller au-delà de cette fameuse anecdote.
    [Show full text]
  • Hoffman(N)Ia in Suzuki Seijuns Filmtriologie Der Taishô-Romantik
    Hoffman(n)ia in Suzuki Seijuns Filmtrilogie der Taishō-Romantik Kayo Adachi-Rabe, Berlin 1. Einleitung Suzuki Seijun wurde 1923 als Sohn eines Kimono-Händlers in Tokyo ge- boren. Im Jahr 1948 begann er, in der Filmindustrie zu arbeiten, und 1956 gab er sein Regiedebüt für das Studio Nikkatsu. Seijun drehte Gangster- und Action-Filme, die zunehmend durch individuelle Stil-Experimente auffielen.1 Die unkonventionelle Filmästhetik mißfiel bald den Produzenten. 1968 wur- de er von Nikka tsu entlassen, da seine Werke unverständlich seien. Anhänger und Kollegen gründeten ein Komitee gegen die als ungerecht empfundene Entscheidung. Die Debatte um den Vorfall entwickelte sich zu einem gesell- schaftlichen Ereignis. Seijuns Werke verkörpern durch ihre anarchistische Handlung und freizü- gige ästhetische Entfaltung der Bilder den Zeitgeist der Studentenrevolte. Sei- ne Filme der Nikkatsu-Zeit erreichten später Kultstatus. Jim Jarmusch, Wong Kar-Wai und Quentin Tarantino sehen in ihnen ein Vorbild für ihre eigene Filmgestaltung. Über ein Jahrzehnt konnte der heute international renommier- te Regisseur nicht filmen. Dann aber, 1980, ließ er ein Zeltkino unter dem Tokyoter Fernsehturm errichten, um seinen neuen Film zu präsentieren. In einem unabhängigen System von Produktion und Verleih fand er die Möglich- keit, seine Filmkunst kompromißlos zu realisieren. So entstand die “Taishō- Trilogie”, Zigeunerweisen ツィゴイネルワイゼン (1980), Kagerō-za 陽炎座 (Theater der flimmernden Luft, 1981) und Yumeji 夢二 (1991). Der vorliegen- 1 Darunter: Tōkyō nagaremono 東京流れ者 (Tokyo Drifter, 1966), Kenka erejī けんかえれ じい (Fighting Elegy, 1966) und Koroshi no rakuin 殺しの烙印 (Branded to Kill, 1967). Zur Lebensgeschichte des Regisseurs: Ueno Kōshi 上野昂志 (Hg.): Suzuki Seijun zen eiga 鈴木清順全映画, Rippū Shobō 1986 und Kawade YUme mUKKU 河出夢ムック (Hg.): Su- zuki Seijun sō tokushū 鈴木清順総特集, Kawade Shobō Shinsha 2001.
    [Show full text]