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Wadaiko in Japan and the United States: the Intercultural History of a Musical Genre
Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre by Benjamin Jefferson Pachter Bachelors of Music, Duquesne University, 2002 Master of Music, Southern Methodist University, 2004 Master of Arts, University of Pittsburgh, 2010 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Dietrich School of Arts & Sciences This dissertation was presented by Benjamin Pachter It was defended on April 8, 2013 and approved by Adriana Helbig Brenda Jordan Andrew Weintraub Deborah Wong Dissertation Advisor: Bell Yung ii Copyright © by Benjamin Pachter 2013 iii Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre Benjamin Pachter, PhD University of Pittsburgh, 2013 This dissertation is a musical history of wadaiko, a genre that emerged in the mid-1950s featuring Japanese taiko drums as the main instruments. Through the analysis of compositions and performances by artists in Japan and the United States, I reveal how Japanese musical forms like hōgaku and matsuri-bayashi have been melded with non-Japanese styles such as jazz. I also demonstrate how the art form first appeared as performed by large ensembles, but later developed into a wide variety of other modes of performance that included small ensembles and soloists. Additionally, I discuss the spread of wadaiko from Japan to the United States, examining the effect of interactions between artists in the two countries on the creation of repertoire; in this way, I reveal how a musical genre develops in an intercultural environment. -
Yasukuni: the Stage for Memory and Oblivion
Volume 6 | Issue 5 | Article ID 2750 | May 03, 2008 The Asia-Pacific Journal | Japan Focus Yasukuni: The Stage for Memory and Oblivion Li Ying, Sai Yoichi Yasukuni: The Stage for Memory and The 123-minute documentary, filmed over the Oblivion. course of decade, focuses on the annual events at the Shinto shrine in central Tokyo on August A Dialogue between Li Ying and Sai Yoichi 15th, the date of Japan’s surrender at the end of World War II in 1945. Interspersed with this Translated by John Junkerman footage are scenes of craftsman Kariya Naoji, the last surviving member of a team of sword Li Ying’s documentary film “Yasukuni” opened smiths who forged 8100 “Yasukuni swords” on in Tokyo on May 3, without incident but under the grounds of the shrine during World War II. heavy police protection. The original launch of The film also documents efforts by indigenous the film, scheduled for April 12, was postponed Taiwanese, Okinawans, Koreans, and non- when four theaters in Tokyo and another in Shinto Japanese to have the souls of their Osaka cancelled their screenings of the film relatives removed from the shrine’s register. It after conservative members of the Japanese ends with an extended sequence of archival Diet raised questions about the film’s political footage, depicting the history of Yasukuni, stance (See also David McNeill and John visits to the shrine by Emperor Hirohito, and Junkerman, Freedom Next Time.Japanese scenes from World War II. Neonationalists Seek to Silence Yasukuni Film. The film premiered at the Pusan International Japanese media and civil liberties organizations Film Festival in October 2007 and is scheduled quickly protested what they considered to be for wide release in South Korea this spring. -
Kim Sujin and the Shinjuku Ryozanpaku
Carleton College Carleton Digital Commons Faculty Work Asian Studies 2009 The Avant-garde and Resident Korean Film-making: Kim Sujin and the Shinjuku Ryozanpaku Noboru Tomonari Carleton College Follow this and additional works at: https://digitalcommons.carleton.edu/asst_faculty Part of the Japanese Studies Commons Recommended Citation Tomonari, Noboru. "The Avant-garde and Resident Korean Film-making: Kim Sujin and the Shinjuku Ryozanpaku." Journal of Japanese & Korean Cinema, Journal of Japanese & Korean Cinema, 1, no.1 (2009): 65-81. Accessed via Faculty Work. Asian Studies. Carleton Digital Commons. https://digitalcommons.carleton.edu/asst_faculty/1 This Article is brought to you for free and open access by the Asian Studies at Carleton Digital Commons. It has been accepted for inclusion in Faculty Work by an authorized administrator of Carleton Digital Commons. For more information, please contact [email protected]. Journal of Japanese and Korean Cinema Volume 1 Number 1 © 2009 Intellect Ltd Article. English language. doi: 10.1386/jjkc.1.1.65/1 The avant-garde and resident Korean film-making: Kim Sujin and the Shinjuku Ryozanpaku Noboru Tomonari Carleton College Abstract Keywords The plays and films of Kim Sujin (1954– ) and his company Shinjuku Koreans in Japan Ryozanpaku attest to the variety of styles employed in recent works by resident Japanese cinema Korean artists in Japanese literature and theatre. The appearance of his plays Japanese theatre and films is connected to the changing identities of resident Koreans, especially Kim Sujin since the 1980s. Kim makes use of political theatre performances of the earlier Shinjuku Ryozanpaku period to magnify and to remake into art the experiences of resident Koreans in Japan. -
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. -
A TAKESHI KITANO FILM a BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN and OFFICE KITANO Production
A TAKESHI KITANO FILM A BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN and OFFICE KITANO Production IN COMPETITION JAPAN - 2010 -109 min - Color - Cinemascope - Dolby Digital WORLD SALES CELLULOID DREAMS CELLULOID DREAMS 2 rue Turgot IN CANNES INTERNATIONAL PRESS 75009 Paris Le Grand Hotel RICHARD LORMAND world cinema publicity T: + 33 1 4970 0370 entrance “The Cormoran” www.filmpressplus.com F: + 33 1 4970 0371 7th Floor - 45 La Croisette [email protected] [email protected] T: + 33 4 93 68 32 98 Tel : +33-9-7044-9865 / +33-6-2424-1654 www.celluloid-dreams.com F: + 33 4 93 68 36 49 Several subsidiary bosses gather at a lavish lunch with “Mr. Chairman,” the head of the ruling Sanno-kai crime organization which controls the Greater Tokyo area. Sanno- kai underboss Kato warns Ikemoto about his overt dealings with family outsider Murase, an old-timer with whom he recently made a pact in prison. In an effort to ease Mr. Chairman’s suspicions, Ikemoto asks fellow boss Otomo to do his dirty work for him by making a minor but obvious move against Murase. Otomo’s actions are the start of a ruthless series of conflicts and betrayals. Before long, several yakuza clans are out for blood in their constant battle for power and money. The rival bosses fight to rise through the ranks by scheming and making short-lived allegiances. In this corrupt world where there are no heroes, it’s Bad Guy vs. Bad Guy in a spiralling outrage of gang warfare… THE STORY ON YAKUZA FLICKS For a long time, I was often questioned why I made yakuza flicks. -
OVERTHROWING CAPITALISM Volume Five
OVERTHROWING CAPITALISM Volume Five Edited by Jack Hirschman Rosemary Manno John Curl 1 Special thanks to all who made generous contributions to this publication. 2 OVERTHROWING CAPITALISM Volume Five Revolutionary Poets Brigade 3 Copyright © 2018 by Kallatumba Press. Edited by Jack Hirschman, Rosemary Manno, and John Curl All rights reserved. No part of this book may be reproduced by any means, including information storage and retrieval or photocopying, except for short excerpts in critical articles, without written permission of the publisher. Intellectual property reverts back to the individual poets and translators upon publication. ISBN-978-0-578-12735-4 Kallatumba Press 858A Union Street San Francisco, CA 94133 http://revolutionarypoetsbrigade.org/ Cover Painting by Dorothy Payne: Freedom Printed in the United States of America. 4 CONTENTS INTRODUCTION ... 9 OPAL PALMER ADISA ... 10 ROBERT ANBIAN ... 11 LILIANA ARENA (ITALY) ... 12 HANAN AWWAD (PALESTINE) ... 14 AYO AYOOLA-AMALE (NIGERIA) ... 18 IDLIR AZIZAJ (ALBANIA) ... 20 MAHNAZ BADIHIAN (IRAN) ... 24 LISBIT BAILEY ... 26 ALESSANDRA BAVA (ITALY) ... 27 ATAOL BEHRAMOGLU (TURKEY) ... 28 LINCOLN BERGMAN ... 34 JUDITH AYN BERNHARD ... 38 CHARLES CURTIS BLACKWELL ... 40 JOHN BRANDI ... 41 KRISTINA BROWN ... 42 FERRUCCIO BRUGNARO (ITALY) ... 44 TOM BURON (FRANCE) ... 46 YOLANDA CATZALCO ... 50 NEELI CHERKOVSKI ... 52 DOMINIQUE CHRISTINA ... 53 MARCO CINQUE (ITALY) ... 56 BOBBY COLEMAN ... 62 FRANCIS COMBES (FRANCE) ... 64 JUANITA CONEJERO (CUBA) ... 66 PAULINE CRAIG ... 68 WILLIAM CROSSMAN ... 72 THOMAS RAIN CROWE ... 73 ANITA ODENA CRUZ ... 75 ROMEO ALCALA CRUZ ... 77 JOHN CURL ... 80 NAJWAN DARWISH (PALESTINE) ... 82 DIEGO DE LEO ... 85 5 CAROL DENNEY ... 86 TONGO EISEN-MARTIN ... 87 ELIAS ... 89 AGNETA FALK ... 91 MAURO FORTISSIMO .. -
Takeshi Kitano Vol
UNIVERSITY OF SHEFFIELD KITANO TAKESHI: AUTHORSHIP1 GENRE & STARDOM IN JAPANESE CINEMA PHD THESIS ADAM R BINGHAM 2009 VOL II 213 The Return of the Kids! A Scene at the Sea [1991], Kids Return [1996] & Dolls [2002] It is possible to sub-divide and compartmentally categorise the oeuvre of Kitano Takeshi in several distinct and mutually compatible ways. Thus far, the tendency in the critical discourse on his work has been, rather too readily and too easily, to focus on those aspects of his films deemed salient authorial determinants - such as the violence and tenderness - and apply this to the body of work as a whole. Thus, for better or for worse, one repeatedly finds in reviews of films such as Ana natsu, ichiban shizukana umi ... (A Scene at the Sea, 1991) and Kikujiro no natsu (Kikujiro, 1999) a focus on their lack of the violent material found in other, better known Kitano films. Similarly, a number of reviews and essays about Hana-Bi [1997] concentrated on its perceived Zen qualities, and in the US this quality of quietude and mono no aware was then read into other works that were released in the wake of 1997, even San tai yon, ekkusu ...jugatsu (Boiling Point, 1990). It is, of course, the central tenet of film authorship to evaluate one of a perceived auteur's films against the oeuvre in general. However, as the aforementioned example of Hana-Bi can amply attest, it is nonetheless the case that the common critical conceptions of Kitano Takeshi or even 'Beat' Takeshi that have gained consensus opinion have often been lazily employed, rehashed and repeated. -
Movie Talk and Chinese Pirate Film Consumption from the Mid-1980S to 2005
International Journal of Communication 6 (2012), 501–529 1932–8036/20120501 Broadening the Scope of Cultural Preferences: Movie Talk and Chinese Pirate Film Consumption from the Mid-1980s to 2005 ANGELA XIAO WU Northwestern University How do structural market conditions affect people’s media consumption over time? This article examines the evolution of Chinese pirate film consumption from the mid-1980s to 2005 as a structurational process, highlights its different mechanisms (as compared to those of legitimate cultural markets), and teases out an unconventional path to broadening the scope of societal tastes in culture. The research reveals that, in a structural context consisting of a giant piracy market, lacking advertising or aggregated consumer information, consumers developed “movie talk” from the grassroots. The media environment comprised solely of movie talk guides people’s consumption of films toward a heterogeneous choice pattern. The noncentralized, unquantifiable, and performative features of movie talk that may contribute to such an effect are discussed herein. Introduction Literatures in both cultural sociology and communication endeavor to explain cultural preferences. Current research concerns mainly cross-sectional studies with individuals as the unit of analysis (Griswold, Janssen, & Van Rees, 1999; Webster, 2009). The majority of extant theories focus on linking cultural consumption patterns to individual consumers’ psychological predispositions (Katz, Blumler, & Gurevitch, 1974) or socioeconomic statuses (Bourdieu, 1984; Van Rees & Van Eijck, 2003). However, chronological changes in the consumption patterns are relatively underexplored (Tepper & Hargittai, 2009, pp. 227–228). For instance, longitudinal research of the formative role of structured I am grateful to Joseph Man Chan, Jennifer Light, Eszter Hargittai, James Webster, Wendy Griswold, Janice Radway, and Elizabeth Lenaghan for their generous and helpful comments. -
Press Kit and Photos From
(奇跡 / KISEKI ) Written and Directed by KORE-EDA HIROKAZU 2011 · JAPAN · 128 MIN · VISTA · DTS-SR · COLOUR Download press kit and photos from WWW.WILDBUNCH.BIZ PRESS CONTACT DURING TORONTO FF INTERNATIONAL SALES Martin MARQUET + 1 310 927 5789 Carole BARATON [email protected] email: [email protected] Gary FARKAS [email protected] Vincent MARAVAL [email protected] Gaël NOUAILLE [email protected] Silvia SIMONUTTI [email protected] INTRODUCTION minds of children and the warmth of family life. Children hope for a miracle On the opening day of the Kyushu that will bring their family back Shinkansen line, the Tsubame will head south from Hakata while the Sakura will head north together. I WISH is the latest from Kagoshima. If you stand at the exact film from KORE-EDA Hirokazu, spot where these two trains pass each other, director of “Nobody Knows”. it is said your wish will come true. Once again KORE-EDA Hirokazu captures Sixth grader Koichi hears this rumor and the essence of family, inspiring hope in wants to bring about a miracle of his own. viewers around the world. His younger brother lives far away and Koichi wants them to be together as one family Cinema audiences worldwide have eagerly again. Their parents are divorced: Koichi anticipated the next move of director lives with his mother and grandparents in KORE-EDA Hirokazu. After his debut feature Kagoshima, while his brother and father live “Maborosi” scooped numerous awards at in Fukuoka. The brothers make a grand and film festivals, KORE-EDA has been in the crazy plan involving their friends, parents and spotlight both in Japan and abroad. -
An Analysis of Martin Mcdonagh's Aran Island
“NECESSARY CONTEMPT”: AN ANALYSIS OF MARTIN MCDONAGH’S ARAN ISLAND TRILOGY by Ernesto Garcia B.A., University of British Columbia, 2009 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2011 © Ernesto Garcia, 2011 ABSTRACT In a narrative sense, how does a point of view create imaginable space in Martin McDonagh’s Aran Island Trilogy? And what role does bricolage, selective intertextuality, and postmodern pastiche play in the construction of imaginable space? McDonagh’s Aran Island Trilogy is a complex postmodern construction. It is not simply an appropriation of an iconic location, even though that is part of it, but something more of a subjective response which depends for its strength on a conviction that representation on stage is a form of truth. My research utilizes scholarship on the Aran Islands in conjunction with poets, filmmakers, and playwrights who engaged with these particular islands imaginatively. I illustrate how their diverse points of view created imaginable space that builds from a special place in western Irish imagery, a place that owes much to the late nineteenth century. Also, my examination focuses on McDonagh’s Aran Island Trilogy. These plays represent a new mix of messages, symbols, and cultures that reflect the postmodern condition. I employ two important postmodern thinkers to analyse McDonagh’s work through a postmodern filter: Umberto Eco for his theory of intertextuality, and Charles Jencks’ argument that postmodernism involves double coding the representation of modernism with something else----some Other. -
Carl Sandburg - Poems
Classic Poetry Series Carl Sandburg - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Carl Sandburg(6 January 1878 – 22 July 1967) Carl Sandburg was an American writer and editor, best known for his poetry. He won three Pulitzer Prizes, two for his poetry and another for a biography of <a href="http://www.poemhunter.com/abraham-lincoln/">Abraham Lincoln</a>. H. L. Mencken called Carl Sandburg "indubitably an American in every pulse- beat." <b> Biography</b> Sandburg was born in Galesburg, Illinois, to parents of Swedish ancestry. At the age of thirteen (During Eighth grade) he left school and began driving a milk wagon. From the age of about fourteen until he was seventeen or eighteen, he worked as a porter at the Union Hotel barbershop in Galesburg. After that he was on the milk route again for 18 months. He then became a bricklayer and a farm laborer on the wheat plains of Kansas. After an interval spent at Lombard College in Galesburg, he became a hotel servant in Denver, then a coal-heaver in Omaha. He began his writing career as a journalist for the Chicago Daily News. Later he wrote poetry, history, biographies, novels, children's literature, and film reviews. Sandburg also collected and edited books of ballads and folklore. He spent most of his life in the Midwest before moving to North Carolina. Sandburg volunteered to go to the military and was stationed in Puerto Rico with the 6th Illinois Infantry during the Spanish–American War, disembarking at Guánica, Puerto Rico on July 25, 1898. -
JAPONISME, ORIENTALISM, and the CREATION of JAPANESE LITERATURE in ENGLISH by JOHN WALTER DE GRUCHY
ORIENTING ARTHUR WALEY: JAPONISME, ORIENTALISM, AND THE CREATION OF JAPANESE LITERATURE IN ENGLISH by JOHN WALTER DE GRUCHY B.A. McGill University, 1986 M.A. McGill University, 1991 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Department of English) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September 1999 © John Walter de Gruchy, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT This dissertation examines the principal Japanese translations of Arthur Waley (1889-1966): Japanese Poetry: The Uta (1919), The No Plays of Japan (1921), and The Tale of Genji (1925-33). These works have been overlooked as English literature of the British modern period, although Waley intended most of his translations to function as modern English literature. I include a short biography of Waley's formative years and maintain that aspects of his identity—Jewish, bisexual, and socialist—were important in the choice of his occupation and in the selection and interpretation of his texts.