Bright Beyond Bearing How Can You Know Where to Go If
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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. -
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 -
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.. -
Title Call # Category Lang./Notes
Title Call # Category Lang./Notes K-19 : the widowmaker 45205 Kaajal 36701 Family/Musical Ka-annanā ʻishrūn mustaḥīl = Like 20 impossibles 41819 Ara Kaante 36702 Crime Hin Kabhi kabhie 33803 Drama/Musical Hin Kabhi khushi kabhie gham-- 36203 Drama/Musical Hin Kabot Thāo Sīsudāčhan = The king maker 43141 Kabul transit 47824 Documentary Kabuliwala 35724 Drama/Musical Hin Kadının adı yok 34302 Turk/VCD Kadosh =The sacred 30209 Heb Kaenmaŭl = Seaside village 37973 Kor Kagemusha = Shadow warrior 40289 Drama Jpn Kagerōza 42414 Fantasy Jpn Kaidan nobori ryu = Blind woman's curse 46186 Thriller Jpn Kaiju big battel 36973 Kairo = Pulse 42539 Horror Jpn Kaitei gunkan = Atragon 42425 Adventure Jpn Kākka... kākka... 37057 Tamil Kakushi ken oni no tsume = The hidden blade 43744 Romance Jpn Kakushi toride no san akunin = Hidden fortress 33161 Adventure Jpn Kal aaj aur kal 39597 Romance/Musical Hin Kal ho naa ho 41312, 42386 Romance Hin Kalyug 36119 Drama Hin Kama Sutra 45480 Kamata koshin-kyoku = Fall guy 39766 Comedy Jpn Kān Klūai 45239 Kantana Animation Thai Kanak Attack 41817 Drama Region 2 Kanal = Canal 36907, 40541 Pol Kandahar : Safar e Ghandehar 35473 Farsi Kangwŏn-do ŭi him = The power of Kangwon province 38158 Kor Kannathil muthamittal = Peck on the cheek 45098 Tamil Kansas City 46053 Kansas City confidential 36761 Kanto mushuku = Kanto warrior 36879 Crime Jpn Kanzo sensei = Dr. Akagi 35201 Comedy Jpn Kao = Face 41449 Drama Jpn Kaos 47213 Ita Kaosu = Chaos 36900 Mystery Jpn Karakkaze yarô = Afraid to die 45336 Crime Jpn Karakter = Character -
PAJ77/No.03 Chin-C
AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors. -
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. -
June 2013 at BFI Southbank
13/19 June 2013 at BFI Southbank Werner Herzog, Nikkatsu Studios, Rita Hayworth, Yoko Ono’s Meltdown, Sheffield Doc/Fest, Tony Garnett Werner Herzog is a truly prolific filmmaker having directed, produced, written and acted in a number of features and documentaries now deemed legendary in cinematic history, such as Fitzcarraldo, Grizzly Man and Cave of Forgotten Dreams. This month BFI Southbank presents Part One of an in-depth focus on his films, also including an Extended Run of Aguirre, Wrath of God, which will be re-released by the BFI on June 7. Rita Hayworth, known to fans as ‘The Love Goddess’, was one of the biggest stars of the 40s; this month a selection of her finest films will illustrate why she earned this moniker, with Only Angels Have Wings, Cover Girl and, of course, Gilda With Seasons in the Sun: The Heyday of Nikkatsu Studios, we screen some of the most popular Japanese films of the 50s and 60s to mark the centenary anniversary of the studios. Cult classics Branded to Kill and Stray Cat Rock: Sex Hunter have influenced John Woo and Quentin Tarantino, and play alongside lesser known gems This month our Tony Garnett season Seeing Red concludes with a rare on-stage interview – with Mark Lawson, on Tuesday 4 June – alongside defining examples of his work as a producer, writer and director, such as Law and Order (a pre-cursor to The Wire), the first episode of This Life and the rarely screened films Prostitute and Handgun This year’s Meltdown festival is curated by Yoko Ono and she has curated a selection of films to -
Download Program (PDF)
Tickets and Passes Available at SIFF.NET FESTIVAL PASS: $150 / $100 SIFF MEMBERS • INDIVIDUAL FILM ADMISSION: $15 / $10 SIFF MEMBERS SCHEDULE TUESDAY, FEBRUARY 18 6:00 PM … AND THE FIFTH HORSEMAN IS FEAR 35MM 8:30 PM FRIDAY, FEBRUARY 14 90 DEGREES IN THE SHADE 5:45PM Music by The Ben Thomas Trio before screening WEDNESDAY, FEBRUARY 19 6:30 PM THE BEAST MUST DIE 35MM 6:00 PM 9:15 PM THE HOUSEMAID THE BLACK VAMPIRE 8:30 PM BLACK HAIR SATURDAY, FEBRUARY 15 THURSDAY, FEBRUARY 20 Seattle-based writers Vince and Rosemarie Keenan (Vince is managing editor of NOIR CITY e-magazine) take over hosting duties for Eddie Muller on Saturday, February 15. 5:15PM Music by the Dmitri Matheny Group before screening 12:30 PM 6:00 PM PANIC THE DEVIL STRIKES AT NIGHT 35MM 3:00 PM 8:30 PM RAZZIA BLACK GRAVEL 6:00 PM FINGER MAN 8:30 PM ANY NUMBER CAN WIN 35MM SUNDAY, FEBRUARY 16 12:30 PM A COLT IS MY PASSPORT 3:00 PM BRANDED TO KILL 6:00 PM PALE FLOWER 35MM 8:30 PM RUSTY KNIFE MONDAY, FEBRUARY 17 The Film Noir Foundation is a 12:30 PM non-profi t public benefi t THE FACTS OF MURDER corporation created by Eddie 3:15 PM Muller in 2005 as an educational A WOMAN’S FACE resource regarding the cultural, 6:00 PM NEVER LET GO 35MM historical, and artistic signifi cance 8:30 PM of fi lm noir as an original VICTIM 35MM cinematic movement. The Czar of Noir Even if you haven’t experienced NOIR CITY before, you may recognize Eddie Muller from the dark corridors of TCM’s Noir Alley. -
Abbas Kiarostami's 24 Frames
MARCH / APRIL 2018 SCHEDULE ABOUT OUR THEATER The Roxie is your community nonprofit arthouse theater and the oldest continually-run cinema in the country! Our staff brings you the best / coolest / weirdest / most thought- provoking movies of the past, present and future. Whether in our historic 234-seat Big Roxie theater or our intimate 47-seat Little Roxie screening room, we showcase distinctive cinematic experiences that allow people to meet and connect through the power of film. $12 | BIG ROXIE $11 | LITTLE ROXIE $9 | MATINEE $8 | SENIOR $8 | FAN MEMBERS FREE! | PATRON MEMBERS AND ABOVE A Fantastic Woman Oscar Nominated: Best Foreign Film SAN FRANCISCO SHOWTIMES/TICKETS CONCESSIONS Visit www.roxie.com for showtimes, details Delicious organic popcorn, local beer Abbas Kiarostami’s 24 Frames Purple Rain on upcoming events and added titles. selection, Salt & Straw ice cream, and more! Q&A with producer Ahmad Kiarostami Celebrating Prince in 35mm VOLUNTEER JOIN MEMBERSHIP DONATE /roxietheater @roxie_theater @roxietheater www.roxie.com/volunteer www.roxie.com/membership www.roxie.com/support 3117 16TH STREET SAN FRANCISCO CALIFORNIA 94103 (415)-863-1087 WWW.ROXIE.COM PRODUCED BY WWW.TM-DESIGNS.CO.UK | PRINTED BY A BRIGHT PRINTING COMPANY MARCH / APRIL 3/29 4/1 RoxCine MARCH 3/2 - 3/8 3/2 - 3/8 Starts 3/3 Starts 3/3 The Outhouse - The Film: RoxCine 1985 – 1997 3/30 - 4/1 La Soledad In the ‘80s, punk history was made in Legend of the Mountain Capturing the life of real people amidst the middle of a Kansas cornfield. A the Venezuelan crisis, this film follows a haven for bands other venues feared: New 4K restoration of the complete director’s cut! Time and space young father who begins a search for a Mary and 2018 Oscar® Nominated Fugazi, Melvins, H. -
Sight & Sound Annual Index 2017
THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S. -
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 -
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.