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Actorii În Filme
REVISTă DE CULTURă CINEMATOGRAFICă Wes Anderson • editată de studenții la film din U.N.A.T.C. Hou Hsiao-hsien • NR. 4, FEBRUARIE 2010 Nuri Bilge Ceylan • Kiyoshi Kurosawa • Gus Van Sant • ACTORII ÎN FILME ACTORII ROMÂNI AI GENERAȚiei 2000 deSPRE EI ÎNȘiȘi CÂTEVA NEDUMERIRI ALE LUI RADU JUDE INTERVIU CU VICTOR REBENGIUC STARURILE LUI ANDY WARHOL „ACtor’S DIRECtor” SIDNEY LUMET 1 review AL PATRULEA NUMĂR FILM MENU Într-una din rarele noastre întâlniri de redacţie, după dezbateri lungi şi aprinse despre condiţia bobului de piper sau a rotocoalelor de fum de ţigară, am ajuns la subiectul alegerii temei dosarului „Film Menu” pentru următoarele numere. Hotărând să dedicăm un număr cărţilor de cinema, demers considerat de noi a fi nu tocmai accesibil tuturor sau de interes general, ne-am decis ca ediţia imediat următoare a revistei să conţină un dosar cât mai prietenos cinefilului mediu. Deocamdată, după cum se poate subînţelege din afirmaţia precedentă, ne aflăm într-o fază clasică, într-un decalaj de aproape cinci decenii faţă de prestigioasa „Cahiers du cinéma”, spre exemplu, modernă prin excelenţă, al cărei conţinut şi abordare, în linii mari, au devenit în timp extrem de specializate sau ermetice sau pur şi simplu pretenţioase. Aşadar, din teama de a nu cădea într-un tip de dialectică redacţională inaccesibilă cititorilor, am stabilit ca numărul al patrulea al „Film Menu”, adică cel de faţă, să pună în discuţie „actoria de cinema”; o temă foarte vastă şi generală, care, pe lângă faptul că pe mine, în calitate de coordonator, m-a speriat iniţial, deoarece nu întrevedeam o anumită pistă pe care ar putea-o urma articolele conţinute în dosar, ar fi putut foarte uşor cădea în zona tabloidă a portretizării anumitor staruri de cinema. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
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. -
Hoods and Yakuza the Shared Myth of the American and Japanese Gangster Film
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Hoods and Yakuza The Shared Myth of the American and Japanese Gangster Film. Pate, Simon The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/xmlui/handle/123456789/13034 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Hoods and Yakuza: the Shared Myth of the American and Japanese Gangster Film 1 Hoods and Yakuza The Shared Myth of the American and Japanese Gangster Film by Simon Pate Submitted in partial fulfilment of the requirements of the Degree of Doctor of Philosophy School of Languages, Linguistics and Film Queen Mary University of London March 2016 Hoods and Yakuza: the Shared Myth of the American and Japanese Gangster Film 2 Statement of Originality I, Simon Pate, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. -
Othering Finland in Japan Representation of Aki Kaurismäki´S Films in Reviews in Japanese Magazines
RIE FUSE Othering Finland in Japan Representation of Aki Kaurismäki´s Films in Reviews in Japanese Magazines Tampere University Dissertations 443 Tampere University Dissertations 443 RIE FUSE Othering Finland in Japan Representation of Aki Kaurismäki’s Films in Reviews in Japanese Magazines ACADEMIC DISSERTATION To be presented, with the permission of the Faculty of Information Technology and Communication Sciences of Tampere University, for public discussion in the auditorium 1096 of the Pinni B building, Kanslerinrinne 1, Tampere, on 13 August 2021, at 12 o’clock. ACADEMIC DISSERTATION Tampere University, Faculty of Information Technology and Communication Sciences, Finland Responsible Associate Professor supervisor Katja Valaskivi and Custos Tampere University Finland Supervisor Professor Juha Herkman University of Helsinki Finland Pre-examiners University Lecturer, docent Professor Shinji Oyama Mari Pajala Ritsumeikan University University of Turku Japan Finland Opponent Academy Research Fellow, docent Outi Hakola University of Helsinki Finland The originality of this thesis has been checked using the Turnitin OriginalityCheck service. Copyright ©2021 author Cover design: Roihu Inc. ISBN 978-952-03-2032-4 (print) ISBN 978-952-03-2033-1 (pdf) ISSN 2489-9860 (print) ISSN 2490-0028 (pdf) http://urn.fi/URN:ISBN:978-952-03-2033-1 PunaMusta Oy – Yliopistopaino Joensuu 2021 For my family who has supported and encouraged me. iii iv ACKNOWLEDGEMENTS Over the years that I have prepared this dissertation, I have received support and advice from many people. This work would have not been completed without their support. I would like to thank for their contributions and express my gratitude to all of them. First and foremost, I wish to express my deep gratitude to my two supervisors, Associate Professor Katja Valaskivi and Professor Juha Herkman. -
¿Un Ozu Pornográfico? Hentai Kazoku: El Experimento
REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA E-ISSN 2172-0150 Nº 15 (2017) Recibido 29-05-2017 / Aceptado 13-06-2017 Publicado 22/07/2017 Preprint 22/02/2014 Publicado 22/01/2014 ¿UN OZU PORNOGRÁFICO? HENTAI KAZOKU: EL EXPERIMENTO VENÉREO DE SUO MASAYUKI A PORNOGRAPHIC OZU? HENTAI KAZOKU: SUO MASAYUKI´S EXPERIMENTAL PORNO-FILM Antonio Santos Universidad de Cantabria [email protected] Resumen: Abstract: El primer largometraje que realizara el The first feature film directed in 1983 cineasta japonés Suo Masayuki en 1983, by the Japanese Filmmaker Suo Hentai kazoku : Aniki no o yome-san (Una Masayuki, Hentai kazoku : Aniki no o familia anormal: La mujer de mi hermano yome-san (Abnormal family: Older mayor) plantea una combinación Brother’s Bride) departs from an aparentemente imposible: se trata de una apparently impossible mix: a daring atrevida parodia de las historias familiares parody of Yasujiro Ozu´s classical de Yasujiro Ozu, pero realizada bajo las family films, but shot under the convenciones del cine pornográfico. El conventions of the pornographic resultado es insólito y transgresor: una cinema. The result is unusual and evocación del cine de Ozu, rodado con su shaking: an evocation of Ozu´s creative austero estilo característico, y con unos world, shot with his characteristic protagonistas que evocan los personajes severe style and with his recurrent interpretados por Setsuko Hara y Chishu characters performed by Setsuko Hara Ryu, pero filmados bajo claves eróticas. Una and Chishu Ryu, but translated into an parodia, al fin y al cabo, tan insólita como erotic tale. Conceived as an explosive explosiva. -
Hoods and Yakuza: the Shared Myth of the American and Japanese Gangster Film 1
Hoods and Yakuza: the Shared Myth of the American and Japanese Gangster Film 1 Hoods and Yakuza The Shared Myth of the American and Japanese Gangster Film by Simon Pate Submitted in partial fulfilment of the requirements of the Degree of Doctor of Philosophy School of Languages, Linguistics and Film Queen Mary University of London March 2016 Hoods and Yakuza: the Shared Myth of the American and Japanese Gangster Film 2 Statement of Originality I, Simon Pate, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Simon Pate Date: 14 October 2015 Abstract While there have been many studies of the Hollywood gangster film and others of the Japanese yakuza-eiga (gangster films), there have been very few which look in any detail at the relationship between the two traditions: indeed, most commentators maintain that the American and Japanese gangster films have little or no similarity.