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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. -
Célia Maki Tomimatsu.Pdf
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PROGRAMA DE ESTUDOS PÓS-GRADUADOS EM COMUNICAÇÃO E SEMIÓTICA O cinema que convoca os sentidos da vida Uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda Tese de Doutorado apresentada à Banca Examinadora da PUC de São Paulo como parte da exigência para a obtenção do título de Doutora em Comunicação e Semiótica. Orientadora: Profa. Dra. Christine Greiner CÉLIA MAKI TOMIMATSU São Paulo 2017 2 Banca Examinadora _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ São Paulo, ______ de _____________________ de 2017. 3 RESUMO O objetivo desta pesquisa é analisar como o cineasta japonês Hirokazu Koreeda transforma o conceito de ikigai (生きがい) em um recurso comunicacional que afeta o público japonês e as plateias internacionais, na medida em que convoca a vida na sua singularidade cotidiana e não necessariamente a partir de grandes acontecimentos. Embora ikigai seja um termo de difícil tradução, tem sido considerado por pesquisadores de áreas diversas como razão de viver. O corpus principal da tese é composto por quatro filmes: A luz da ilusão (1995), Depois da vida (1999), Tão distante (2001) e Seguindo em frente (2008). Em todos eles, há um destaque para os questionamentos sobre a vida, a morte e, sobretudo, a memória como interação humana entre dos personagens. Isso porque, além dos diálogos, o silêncio e as imagens das lembranças expressam a razão de viver de cada um deles. No que se refere ao quadro teórico, relacionamos bibliografias sobre ikigai de Mieko Kamiya (2004a, 2004b) com os escritos do próprio Hirokazu Koreeda (2001, 2004, 2008, 2016a, 2016d), bem como suas entrevistas, nas quais o autor interpreta ikigai de um modo complexo e elucida a sua inserção no cinema japonês contemporâneo. -
Movie Museum MAY 2019 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY
Movie Museum MAY 2019 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY 2 Hawaii Premieres! Hawaii Premiere! ARCTIC 2 Hawaii Premieres! ARCTIC HANJIRO HONNOUJI HOTEL (2018-Iceland) SAMURAI HUSTLE (2018-Iceland) (2010-Japan) (2017-Japan) in English, in widescreen Chô kôsoku! Sankin kôtai in English, in widescreen Japanese w/Eng subtitles ws Japanese w/Eng subtitles ws with Mads Mikkelsen (2014-Japan) with Mads Mikkelsen 12:00, 4:30 & 9:00pm 11:00am, 3:45 & 8:30pm 12:00, 3:30, 5:15 & 8:45pm Japanese w/Eng subtitles ws 10:45am, 2:45 & 6:45pm ------------------------------------ --------------------------------- ---------------------------------- 12:00, 4:30 & 9:00pm ------------------------------------ MURMUR OF THE TOKYO TOWER: TORA-SAN, HIS ------------------------------------ Hawaii Premiere! HEARTS MOM AND ME, AND TENDER LOVE HANJIRO HONNOUJI HOTEL (2015-Hong Kong/Taiwan) SOMETIMES DAD (1970-Japan) (2010-Japan) (2017-Japan) Mandarin w/Eng subtitles ws (2007-Japan) Japanese w/Eng subtitles ws Japanese w/Eng subtitles ws Japanese w/Eng subtitles ws Directed by Sylvia Chang Japanese w/Eng subtitles ws with Kiyoshi Atsumi with Takaaki Enoki with Haruka Ayase 2:15 & 6:45pm 2 1:15 & 6:00pm 3 1:45 & 7:00pm 4 2:15 & 6:45pm 5 12:30, 4:30 & 8:30pm 6 TORA-SAN, HIS Hawaii Premiere! EVERYBODY KNOWS Mother's Day 2 Hawaii Premieres! TENDER LOVE SAMURAI HUSTLE (2018-Spain/France/Italy) SWEET BEAN A MAN CALLED (1970-Japan) (2014-Japan) Spanish/Eng w/Eng subs ws (2015-Japan/France/Germany) INTREPID Japanese w/Eng subtitles ws Japanese w/Eng subtitles -
THE TORONTO JAPANESE FILM FESTIVAL 2017 2017年トロント日本映画祭まもなく開催 May 2017 Vol.43 Issue 5 1 April 2017 2017年4月 Vol.43 Issue 4 5% Discount for JCCC Members
THE TORONTO JAPANESE FILM FESTIVAL 2017 2017年トロント日本映画祭まもなく開催 May 2017 Vol.43 Issue 5 1 April 2017 2017年4月 Vol.43 Issue 4 5% discount for JCCC members DAVID IKEDA Sales Representative 416-234-2424 www.ikedasells.com Sutton Group Old Mill Realty Inc., Brokerage For Experienced Professional Real Estate Services Beyond your Expectations Please call for a consultation - no obligation bonni maikawa sales representative www.bonnimaikawa.com 416 966 0300 2 Sutton Group Associatiates Realty Inc., Brokerage 2016 - 17 JCCC Board of Directors In This Issue... President Gary Kawaguchi Past President/Advisor Marty Kobayashi VP, Heritage Jan Nobuto 2-7 JCCC Upcoming Events VP, Management Ann Ashley Secretary Sharon Marubashi Finance Chair Chris Hope 8-9 Heritage News VP, NJCC Miki Rushton VP, Marketing/Strategic Planning Karen Kuwahara 9-11 Community News Directors Jonathan Carter Mark Hashimoto Kristin Kobayashi 11-12 Donations Keiichi Kubo Dereck Oikawa Chris Reid 13-16 日本語紙面 Cary Rothbart Ross Saito Nao Seko Peter Wakayama Bob Yamashita Tak Yoshida Calendar of Events Advisors Mackenzie Clugston May William Hatanaka Sid Ikeda Sat 6 JCCC Annual Bazaar Steve Oikawa Thu 11 The 4th Ishizue Awards Connie Sugiyama JCCC Foundation Chair Shari Hosaki PHOTOLAB II Exhibit Opening JCCC Staff Sat 13 JCCC Karaoke Club James Heron Karate Tournament Executive Director Thu 18 JCCC Movie Night [email protected] 416-441-2345 ext.224 "After the Storm" Kathy Tazumi Accounting/General Administration Manager Sat 20 JCCC Karaoke Club [email protected] 416-441-2345 ext.229 -
Cineclubuned 24.Pdf
Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07 -
Catalogo Catalogue 2019.Pdf
IN UN MONDO CHE CAMBIA, PUOI AMARE IL CINEMA FESTA DEL CINEMA DI ROMA DA UN’ALTRA PROSPETTIVA. 17-27 Ottobre 2019 PRODOTTO DA MAIN PARTNER Promosso da Partner Istituzionali Messaggio pubblicitario con finalità promozionale. WE LOVE CINEMA In collaborazione con BNL Main Partner della Festa del Cinema di Roma, dal 17 al 27 ottobre. Seguila da un altro punto di vista, su welovecinema.it e con la nostra app. by BNL - BNP PARIBAS welovecinema.it Sponsor Uffi ciali Auto Uffi ciale La banca per un mondo che cambia Partner Partner Tecnico Main Media Partner TV Uffi ciale Media Partner Sponsor FOOD PROMOTION & EVENTS MANAGEMENT Sponsor Tecnici PRODUZIONI E ALLESTIMENTI L'APP DELLA REGIONE LAZIO CON SCONTI E PROMOZIONI PER I GIOVANI DAI 14 AI 29 ANNI su cinema, eventi, libri, concerti, teatro, sport, turismo, pub e ristoranti SCARICA L’APP DAGLI STORE SCOPRI DI PIÙ NELLO SPAZIO DELLA REGIONE LAZIO ALLA FESTA AUDITORIUM PARCO DELLA MUSICA VIVILE STAGIONI DELLE ARTI CONCERTI FESTIVAL RASSEGNE VIALE PIETRO DE COUBERTIN • 00196 ROMA INFO: 06 8024 1281 • BIGLIETTERIA: 892 101 (SERVIZIO A PAGAMENTO) PROGRAMMAZIONE E BIGLIETTI SU AUDITORIUM.COM Siamo con il CINEMA ITALIANO ovunque voglia arrivare. cinecittaluce.it festadelcinema_165 X240 .indd 1 18/09/19 09:20 esecutivo-pagina-cinema.pdf 1 17/09/2019 09:47:37 C M Y CM MY CY CMY K Lavoriamo ogni giorno per valorizzare il set più bello del mondo. Mazda CX-30 Cat FestaCinema 165x240.indd 1 01/10/19 10:13 SIAE_per_FestaCinemaRoma_2019_165x240.pdf 1 10/09/19 11:47 SOGNI IDEE ARTE EeMOZIONI 14A EDIZIONE | 14TH EDITION -
Product Guide
AFM PRODUCTPRODUCTwww.thebusinessoffilmdaily.comGUIDEGUIDE AFM AT YOUR FINGERTIPS – THE PDA CULTURE IS HAPPENING! THE FUTURE US NOW SOURCE - SELECT - DOWNLOAD©ONLY WHAT YOU NEED! WHEN YOU NEED IT! GET IT! SEND IT! FILE IT!© DO YOUR PART TO COMBAT GLOBAL WARMING In 1983 The Business of Film innovated the concept of The PRODUCT GUIDE. • In 1990 we innovated and introduced 10 days before the major2010 markets the Pre-Market PRODUCT GUIDE that synced to the first generation of PDA’s - Information On The Go. • 2010: The Internet has rapidly changed the way the film business is conducted worldwide. BUYERS are buying for multiple platforms and need an ever wider selection of Product. R-W-C-B to be launched at AFM 2010 is created and designed specifically for BUYERS & ACQUISITION Executives to Source that needed Product. • The AFM 2010 PRODUCT GUIDE SEARCH is published below by regions Europe – North America - Rest Of The World, (alphabetically by company). • The Unabridged Comprehensive PRODUCT GUIDE SEARCH contains over 3000 titles from 190 countries available to download to your PDA/iPhone/iPad@ http://www.thebusinessoffilm.com/AFM2010ProductGuide/Europe.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/NorthAmerica.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/RestWorld.doc The Business of Film Daily OnLine Editions AFM. To better access filmed entertainment product@AFM. This PRODUCT GUIDE SEARCH is divided into three territories: Europe- North Amerca and the Rest of the World Territory:EUROPEDiaries”), Ruta Gedmintas, Oliver -
Descarcă Catalogul Festivalului
PERGOLA GRĂDINII VERONA OUTDOOR FABRICA GRIVIŢA OUTDOOR CINEMA DRIVE-IN SNAGOV PARK DRIVE-IN Orange TV Go ONLINE LES FILMS DE CANNES À BUCAREST PREZENTAT DE: INSPIRAT DE CU SPRIJINUL PROIECT CULTURAL PARTENAIRE FINANŢAT DE PRIVILÉGIÉ , PARTENERI PARTENERI MEDIA PRINCIPALI PARTENERI MEDIA Caiet de brand Negru Galben cinefilia.ro CMYK 0, 0, 0, 100 CMYK 0, 21, 100, 0 Font: Candara / Bold ALL ABOUT ROMANIAN CINEMA AaRC LES FILMS DE CANNES À BUCAREST Desigur, cel mai important în perioada aceasta este să fim sănătoşi şi să facem ca lucrurile să continue să meargă cât de cât într-o normalitate, de la şcoală şi familiile noastre şi până la joburi – care sunt în pericol, în special cele ale freelancerilor din domeniul cultural şi al organizării de evenimente. Altfel însă, e important şi să încercăm să ne păstrăm pe cât se poate obiceiurile din viaţa noastră de dinainte – inclusiv cele care nu sunt necesare supravieţuirii imediate, cum sunt cele culturale în general şi un festival de film în particular. Căci da, nu se oprea lumea în loc dacă nu organizam noi ediţia a 11-a a Les Films de Cannes à Bucarest – însă ne-am încăpăţânat tocmai pentru fărâma de normalitate pe care continuarea acestei tradiţii o aduce în viaţa noastră. – Cristian Mungiu, iniţiatorul festivalului CUPRINS ANOTHER ROUND / Druk | 9 LE DISCOURS / The Speech | 9 ÉTÉ 85 / Summer of 85 | 10 MALMKROG | 10 MANDIBULES / Mandibles | 11 STILL THE WATER / Futatsume no mado | 11 SWEAT | 12 SWEET BEAN / An | 12 TRUE MOTHERS / Asa Ga Kuru | 13 LA VÉRITÉ / The Truth | 13 BORDER / Gräns | -
Hirokazu Kore-Eda: Die Gefühlte Realität SOSHITE CHICHI NI NARU (WIE DER VATER, SO DER SOHN) VATER, Dreharbeiten Zu SOSHITE CHICHI NI NARU (WIE DER
Hirokazu Kore-eda: Die gefühlte Realität SOSHITE CHICHI NI NARU (WIE DER VATER, SO DER SOHN) VATER, SOSHITE CHICHI NI NARU (WIE DER Dreharbeiten zu Es ist eine merkwürdige Idylle, in die SHOPLIFTERS – Nestwärme dieses Refugiums nistet durchaus eine FAMILIENBANDE (MANBIKI KAZOKU, 2018) seine Zu- Bedrohung des Kindeswohls. Nobuyo und Osamu ver- schauer einführt. Die Familie Shibata lebt in heiterer bindet ein düsteres Geheimnis, dessen Aufklärung sie Verwahrlosung. Offiziell gemeldet ist an ihrem Wohnort erlösen könnte. Ihr Sohn Shota, der nun reif genug ist, nur Hatsue, deren Rente die schmale ökonomische sich aus der Amoral zu befreien, muss den Verlust der Grundlage der Gemeinschaft bildet, die sie zuweilen Geborgenheit verwinden. Der unbestechliche Humanist aber auch gern in einer Pachinko-Halle verjubelt. Die Kore-eda fällt keine Urteile, sondern hält die Verhältnis- Mutter Nobuyo hat einen schlecht bezahlten Job in ei- se bis zum Ende in der Schwebe. Seine Figuren gehen ner Wäscherei, der Vater Osamu verdingt sich als Tage- ihm dabei nicht verloren. Ihre Beweggründe mögen löhner und Aki verdient ein Zubrot in einer Peepshow. vieldeutig sein, seine Sympathie ist es nicht. Mensch- Die Haupteinnahmequelle dieses kleinen Clans aber lichkeit offenbart sich bei diesem Regisseur in den un- sind Ladendiebstähle, an denen bald auch der Neuan- erwarteten Situationen und stets ist sie komplexer, als kömmling Juri mitwirkt, ein Mädchen aus der Nachbar- man auf Anhieb denkt. schaft, das von seiner Mutter in die Winterkälte ausge- In SHOPLIFTERS, für den er in Cannes wohlverdient setzt wurde. Trotz der prekären Verhältnisse wird man die Goldene Palme erhielt, zieht der Regisseur eine Hirokazu Kore-eda den Verdacht nicht los, dass die kriminelle Energie der Zwischenbilanz seines bisherigen Schaffens. -
November-December Movies, 2019 1 8 15 22 6 13 20
November-December Movies, 2019 Nov BEAUTIFULLY BROKEN: In a real-life story of a refugee’s escape, a prisoner’s promise and a daughter’s painful secret, these people learn the healing power of forgiveness and reconciliation 1 as they fight to save their families. Eric Roberts, Michael W. Smith, Scott William Winters, Emily Hahn. PG-13 1 hr 51 min Nov NIGHT SCHOOL: A successful salesman gets fired when he accidentally destroys his workplace. He needs his GED to find a decent job. Every school rule is about to be broken when a strict teacher and his high school nemesis-turned principal go head-to-head in a battle of wits and pranks. Kevin Hart, 8 Tiffany Haddish, Rob Riggle, Taran Killam. PG-13 1 hr 5 min Nov SHOPLIFTERS: On the margins of Tokyo, a dysfunctional band of outsiders are united by fierce loyalty, a penchant for petty theft and playful grifting. When a young son is arrested, secrets are 15 exposed that upend their tenuous, below-the-radar existence & test their quietly radical belief that love, not blood, defines a family. Lily Franky, Sakura Ando, Mayu Matsuoka, Kirin Kiki. R 2hr 1 min. Nov THE PUBLIC: As Cincinnati endures a blast of Artic cold, the public library serves as a refuge for all. But as closing time nears and emergency shelters are already full, a group of homeless patrons refuse 22 to leave, leading to a clash with authorities. Alec Baldwin, Emilio Estevez, Jena Malone, Taylor Schilling, Christian Slater. PG-13 1 hr 59 min Dec THE SEAGULL: At a lakesire Russian estate, friends & family gather for a summer weekend in the countryside. -
Analysing the Discursive Role of 'Quiet Activism' in Koreeda Hirokazu's Fami
Positive depictions of the family in crisis: Analysing the discursive role of ‘quiet activism’ in Koreeda Hirokazu’s family narratives Duncan Breeze 100068770 Thesis Submitted for the Degree of Doctor of Philosophy in the School of Art, Media and American Studies University of East Anglia July 2020 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract The Japanese family has undergone significant upheavals since the late 20th century and this has had profound effects on cinematic representations. Contemporary filmmaker Koreeda Hirokazu has gained worldwide fame as a director of family dramas, many of which depict the family in contemporary social contexts. This thesis focuses on a selection of Koreeda’s films (and a TV series) termed the ‘family narratives’ (2011-2016) to determine how the representations of family and associated gender roles positively address social developments and anxieties. Recognising their broader role within sociological debates in Japan, this project asks, how do Koreeda’s family narratives function as a discourse on contemporary social anxieties related to family and gender? Evading traditional authorship methods, the critical framework relies on a range of approaches examining film as history (Standish 2000; Rosenstone 2012), the family on film (Harwood 1997) and the ‘social problem film’ to textually analyse the discursive role of Koreeda’s representations within socio-historical contexts. -
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