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Japanese Cinema at the Digital Turn Laura Lee, Florida State University
1 Between Frames: Japanese Cinema at the Digital Turn Laura Lee, Florida State University Abstract: This article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape. The advent of digital media and the perceived danger it has implied for the status of cinema have resulted in an inevitable nostalgia for the unique properties of the latter. In many Japanese films at the digital turn this manifests itself as a staging of the cinematic apparatus, in 1 which cinema is refracted through composite media arrangements. -
Filmography of Case Study Films (In Chronological Order of Release)
FILMOGRAPHY OF CASE STUDY FILMS (IN CHRONOLOGICAL ORDER OF RELEASE) Kairo / Pulse 118 mins, col. Released: 2001 (Japan) Director: Kiyoshi Kurosawa Screenplay: Kiyoshi Kurosawa Cinematography: Junichiro Hayashi Editing: Junichi Kikuchi Sound: Makio Ika Original Music: Takefumi Haketa Producers: Ken Inoue, Seiji Okuda, Shun Shimizu, Atsuyuki Shimoda, Yasuyoshi Tokuma, and Hiroshi Yamamoto Main Cast: Haruhiko Kato, Kumiko Aso, Koyuki, Kurume Arisaka, Kenji Mizuhashi, and Masatoshi Matsuyo Production Companies: Daiei Eiga, Hakuhodo, Imagica, and Nippon Television Network Corporation (NTV) Doruzu / Dolls 114 mins, col. Released: 2002 (Japan) Director: Takeshi Kitano Screenplay: Takeshi Kitano Cinematography: Katsumi Yanagijima © The Author(s) 2016 217 A. Dorman, Paradoxical Japaneseness, DOI 10.1057/978-1-137-55160-3 218 FILMOGRAPHY OF CASE STUDY FILMS… Editing: Takeshi Kitano Sound: Senji Horiuchi Original Music: Joe Hisaishi Producers: Masayuki Mori and Takio Yoshida Main Cast: Hidetoshi Nishijima, Miho Kanno, Tatsuya Mihashi, Chieko Matsubara, Tsutomu Takeshige, and Kyoko Fukuda Production Companies: Bandai Visual Company, Offi ce Kitano, Tokyo FM Broadcasting Company, and TV Tokyo Sukiyaki uesutan jango / Sukiyaki Western Django 121 mins, col. Released: 2007 (Japan) Director: Takashi Miike Screenplay: Takashi Miike and Masa Nakamura Cinematography: Toyomichi Kurita Editing: Yasushi Shimamura Sound: Jun Nakamura Original Music: Koji Endo Producers: Nobuyuki Tohya, Masao Owaki, and Toshiaki Nakazawa Main Cast: Hideaki Ito, Yusuke Iseya, Koichi Sato, Kaori Momoi, Teruyuki Kagawa, Yoshino Kimura, Masanobu Ando, Shun Oguri, and Quentin Tarantino Production Companies: A-Team, Dentsu, Geneon Entertainment, Nagoya Broadcasting Network (NBN), Sedic International, Shogakukan, Sony Pictures Entertainment (Japan), Sukiyaki Western Django Film Partners, Toei Company, Tokyu Recreation, and TV Asahi Okuribito / Departures 130 mins, col. -
JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history. -
The Good, the Bad, and the Generic: Translation and Transference in East Asian Westerns
Michelle Cho The Good, The Bad, and the Generic: Translation and Transference in East Asian Westerns As the blue sky that fills the opening frame of The This essay offers a theoretical perspective on Good, the Bad, and the Weird, Korean auteur Kim genre’s role in producing grids of intelligibility Ji-woon’s 2008 “kimchi Western,” gives way to a crucial to cultural translation by arguing that panning shot of the arid desert landscape, viewers generic conventions function in these recent “Asian are given a literal bird’s eye view of the scene. A Westerns” as a staging ground for transference— hawk, from whose perspective we’re seeing this an engagement that offers a new approach to space, swoops down to steal a carcass off a set of cultural translation. I would like to suggest that, railroad tracks and narrowly avoids the speeding in these films, genre citation is both a source of train that abruptly enters the frame, announcing inspiration for themes, plot points, or characters the human drama that will follow. Takashi Miike and a set of constraints which makes possible also enlists the visual motif of the bird of prey to the act of addressing an audience that is not yet frame the confrontation of man and nature in the stably formed, an audience that emerges out of bizarre, theatrical prologue to Sukiyaki Western self-consciously ethnic and nationalist structures Django (no need to append a representative of identification, yet simultaneously disavows “flavor,” since Miike spells it out in the film’s title). and exceeds them. -
Paradoxical Japaneseness Cultural Representation in 21St Century Japanese Cinema
A. Dorman Paradoxical Japaneseness Cultural Representation in 21st Century Japanese Cinema ▶ Explores the impact of transnational production practices in Japanese cinema ▶ Provides insightful analysis of cultural representation in Japanese films ▶ Features a range of textual and empirical analysis This book offers insightful analysis of cultural representation in Japanese cinema of the early 21st century. The impact of transnational production practices on films such as Dolls (2002), Sukiyaki Western Django (2007), Tetsuo: The Bullet Man (2009), and 13 Assassins (2010) is considered through textual and empirical analysis. The author discusses contradictory forms of cultural representation – cultural concealment and cultural 1st ed. 2016, XIII, 224 p. 10 illus. performance – and their relationship to both changing practices in the Japanese film A product of Palgrave Macmillan UK industry and the global film market. Case studies take into account popular genres such as J Horror and jidaigeki period films, as well as the work of renowned filmmakers Takeshi Kitano, Takashi Miike, Shinya Tsukamoto and Kiyoshi Kurosawa. Printed book Hardcover ▶ 109,99 € | £99.99 | $139.99 ▶ *117,69 € (D) | 120,99 € (A) | CHF 130.00 eBook Available from your bookstore or ▶ springer.com/shop MyCopy Printed eBook for just ▶ € | $ 24.99 ▶ springer.com/mycopy Order online at springer.com ▶ or for the Americas call (toll free) 1-800-SPRINGER ▶ or email us at: [email protected]. ▶ For outside the Americas call +49 (0) 6221-345-4301 ▶ or email us at: [email protected]. The first € price and the £ and $ price are net prices, subject to local VAT. Prices indicated with * include VAT for books; the €(D) includes 7% for Germany, the €(A) includes 10% for Austria. -
Ken Goto Phone: +81 (90)9095-7264 / E-Mail: [email protected]
Ken Goto Phone: +81 (90)9095-7264 / E-mail: [email protected] Stunt Demo Reel: http://youtu.be/hx_6pnthWLk Eyes:Brown Hair:Black Height:5'6" Weight: 141lbs Bust:37" Waist:31" Hips:35" Shoes:9″ 【USA】 【Stunt coordinator】 『47RONIN』 Carl Risch 『SILENCE』 Martin Scorsese 『SNAKE EYES(G.I.JOE)』 Robert Schwentke 『KATE』 Cedric Nicolas-Troyan 『BLINDSPOT』 『S.W.A.T.』 【STAGE 】 UTUTU(2010in Hollywood) Actor(Ronin) Keiya Tabuchi KATANA(2012in Hollywood) Actor(Samurai) Keiya Tabuchi 【JAPAN】 Ryu ga gotoku (yakuza) Stunt Yakuza Keiji Tsujii 13Assassins Stunt DBL/Samurai Keiji Tsujii Crows Zero Stunt Student Keiji Tsujii Crows Zero2 Stiunt Student Keiji Tsujii Sukiyaki Western Django Stunt Horse Rider/gang Keiji Tsujii Nintama Rantaro Stunt DBL/Ninja Keiji Tsujii Shinjuku Incident(2009) Stunt Yakuza Chin Kar Lok AZUMI Sutunt Samurai Yuta Morokaji SP the motion picture Stunt SP Takahito Ouchi SHINOBI Stunt Samurai Yuji Shimomura Nobou no Shiro Sutant Horse Rider Keiya Tabuchi Ashita no Joe Stunt Yakuza Keiji Tsujii A Boy Called H Stunt Police Keiya Tabuchi Koshonin Stunt SAT/ Police MakotoKenmochi Kakushitoride no Sanakunin Stunt DBL Hiroshi Kuze Nouotoko Stunt DBL/Police Eiji Morisaki Rookies Stunt Sutudent Keiya Tabuchi Rondo Stunt Police/Yakuza Keiya Tabuchi Sugata Sanshiro Stunt Yakuza Makoto Kenmochi Shinsengumi Stunt Ronin Kunishiro Hayashi Byakkotai Stunt samurai Kanzo Uni GTO Stunt Yakuza Hiroki Ezawa Bloody Monday Stunt Police Keiya Tabuchi Bloody Monday2 Stunt Police Keiya Tabuchi Risou no musuko Stunt Student Makoto Kenmochi Kyonshi Girl Stunt Zombi Yuji Takatsuki Yae no sakura Stunt samurai Kunishiro Hayashi Yankeekun to meganechan Stunt student Keiji Tsujii JIU Stunt SAT Keiya Tabuchi 【GAME 】 Fist of the North Star (Motion capture) Sengoku musou(Motion capture) Shin sangoku musou(Motion capture) 【Special Skills】 High Fall Fire Car Hit Wire Work Horse Back Riding Karate, Various weapons(Nunchkau, Tonfa, Bo staff, Japanese swoad fight) . -
Evil in the 'City of Angels'
Visit Our Showroom To Find The Perfect Lift Bed For You! April 24 - 30, 2020 2 x 2" ad 300 N Beaton St | Corsicana | 903-874-82852 x 2" ad M-F 9am-5:30pm | Sat 9am-4pm milesfurniturecompany.com FREE DELIVERY IN LOCAL AREA WA-00114341 W L M C A B L R G R C S P L N Your Key 2 x 3" ad P E Y S W Z A Z O V A T T O F L K D G U E N R S U H M I S J To Buying D O I B N P E M R Z Y U S A F and Selling! N K Z N U D E U W A R P A N E 2 x 3.5" ad Z P I M H A Z R O Q Z D E G Y M K E P I R A D N V G A S E B E D W T E Z P E I A B T G L A U P E M E P Y R M N T A M E V P L R V J R V E Z O N U A S E A O X R Z D F T R O L K R F R D Z D E T E C T I V E S I A X I U K N P F A P N K W P A P L Q E C S T K S M N T I A G O U V A H T P E K H E O S R Z M R “Penny Dreadful: City of Angels” on Showtime Bargain Box (Words in parentheses not in puzzle) Lewis (Michener) (Nathan) Lane Supernatural Place your classified Classified Merchandise Specials Solution on page 13 Magda (Natalie) Dormer (1938) Los Angeles ad in the Waxahachie Daily Light, Merchandise High-End 2 x 3" ad Tiago (Vega) (Daniel) Zovatto (Police) Detectives Midlothian Mirror and Ellis Evil in the Peter (Craft) (Rory) Kinnear Murder County Trading1 Post! x 4" ad Deal Merchandise Word Search Maria (Vega) (Adriana) Barraza Espionage Call (972) 937-3310 Run a single item Run a single item priced at $50-$300 priced at $301-$600 ‘City of Angels’ for only $7.50 per week for only $15 per week 6 lines runs in The Waxahachie Daily Light, Midlothian Mirror and Ellis County Trading2 x 3.5" Post ad and online at waxahachietx.com Natalie Dormer stars in “Penny Dreadful: City of Angels,” All specials are pre-paid. -
LIONS GATE ENTERTAINMENT CORP. (Exact Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K (Mark One) ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2012 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No.: 1-14880 LIONS GATE ENTERTAINMENT CORP. (Exact name of registrant as specified in its charter) British Columbia, Canada N/A (State or Other Jurisdiction of (I.R.S. Employer Incorporation or Organization) Identification No.) 1055 West Hastings Street, Suite 2200 2700 Colorado Avenue, Suite 200 Vancouver, British Columbia V6E 2E9 Santa Monica, California 90404 (877) 848-3866 (310) 449-9200 (Address of Principal Executive Offices, Zip Code) Registrant’s telephone number, including area code: (877) 848-3866 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Common Shares, without par value New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None ___________________________________________________________ Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or Section 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences. -
MONDO TARANTINO MONDO TARANTINO COLEÇÃO CINUSP – Volume 4 Coordenação Geral Tradução Esther Hamburger E Patricia Moran David Donato
MONDO TARANTINO MONDO TARANTINO COLEÇÃO CINUSP – vOLUME 4 COORDENAÇÃO GERAL TRADUÇÃO Esther Hamburger e Patricia Moran David Donato ORGANIZAÇÃO REVISÃO Marcos Kurtinaitis Luciana Tonelli PRODUÇÃO PROJETO GRÁFICO E DIAGRAMAÇÃO Thiago de André André Noboru Siraiama Uva Costriuba PESQUISA Henrique Figueiredo ILUSTRAÇÃO DA CAPA Yasmin Afshar Vitor Morinishi Kurtinaitis, Marcos (org.) Mondo Tarantino / Marcos Kurtinaitis São Paulo: Pró-reitoria de Cultura e Extensão Universitária – USP, 2013. 256 p.; 21 x 15,5 cm. ISBN 978-85-62587-09-2 1. Cineastas 2. Tarantino, Quentin (1963- ) I. Título CDD 791.43092 CDU 791 Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina MONDO TARANTINO CCBB DF CCBB SP CINUSP 15 FEV A 17 MAR 20 FEV A 17 MAR 25 FEV A 15 MAR SCES, Trecho 2 Rua Álvares Penteado, 112 Rua do Anfiteatro, 181 61 3108 - 7600 Centro Colmeia Favo 04 twitter.com/ccbb_df 11 3113 - 3651 / 3652 11 3091 - 3540 fb.com/ccbb.brasilia twitter.com/ccbb_sp www.usp.br/cinusp fb.com/ccbbsp fb.com/cinusp.pauloemilio CORREALIZAÇÃO REALIZAÇÃO Pró-Reitoria de Cultura e Extensão Universitária da USP São Paulo – Fevereiro de 2013 O Ministério da Cultura e o Banco do Brasil apresentam, em parceria com o CINUSP Paulo Emílio, a mostra MONDO TARANTINO, ampla retrospectiva em homenagem ao cineasta que completa 20 anos de carreira. Prestes a completar também 50 anos de idade e contando com enorme prestígio, Quentin Tarantino é, sem dúvida, um dos mais influentes cineastas em atividade. Seus filmes, tamanha a originalidade, sempre provocam as mais acaloradas discussões. E, mais que isso, propiciam uma significativa mudança no cinema. -
FROM the HEADMASTER from the DEPUTY HEADMASTER Dddrdr Peter Casey Mr Steven O’Connor
NEWSLETTER 4/3 Friday October 2424,,,, 2008 FROM THE HEADMASTER FROM THE DEPUTY HEADMASTER DDDrDr Peter Casey Mr Steven O’Connor Dear Friends Arrangements for Speech Night By the time you receive this newsletter, we will have celebrated the last I would like to detail some of the arrangements for Speech Night 2008. week of classes for those studying VCE Units 4: all of our Year 12s but Speech Night will be held at Her Majesty’s Theatre on Friday, also a large number of Year 11s. For some boys, nervousness and anxiety November 21 commencing at 7.30pm. Tickets will be available for has been creeping in, for others the urge to reckless abandon, and for Year 12 parents from October 27 - 31 through the Majestic Box Office. others a sense of nostalgia or achievement crescendoed. We as a staff Year 12 students will need to purchase a ticket for the event. acknowledge the spectrum of emotions at this time. We have honoured them while maintaining our dignity and our expectations. I find it difficult Majestic Operating Hours are: Monday - Friday: 9.15am–5.00pm to accept the view that while we have our expectations based on mutual respect for six years we may then let mayhem take over for one or two In preparation for Speech Night, we would like all Year Twelve days. We have been blessed in the calibre of boys we have at St Pat’s and students to attend two rehearsals. The first rehearsal will be at 2:00pm their collective wisdom and appreciation. -
Silva Iaponicarum Fasc. 43/44/45/46
SILVA IAPONICARUM 日林 FASC. XLIII/XLIV/XLV/XLVI 第四十三・四十四・四十五・四十六 号 SPRING/SUMMER/AUTUMN/WINTER 春・夏・秋・冬 2015 SPECIAL EDITION POLISH FILM STUDIES AND JAPANESE CINEMA edited by Krzysztof Loska and Dawid Głownia Posnaniae, Cracoviae, Varsoviae, Kuki MMXV ISSN 1734-4328 2 Drodzy Czytelnicy. Niniejszy specjalny zeszyt Silva Iaponicarum 日林 zawiera artykuły zebrane od polskich filmoznawców specjalizuj ących si ę w kinie japo ńskim. Cieszymy si ę, że mo żemy przedstawi ć w ten sposób najnowsze prace zarówno uznanych polskich badaczy japo ńskiego kina, jak i filmoznawców pokolenia młodszego, znajduj ących si ę u progu ich kariery akademickiej. Nawet wydanie filmowe specjalne naszego kwartalnika pozostaje wielow ątkowe. St ąd jako jedynego klucza porz ądkowania artykułów w trakcie jego kompilacji zastosowano porz ądek alfabetyczny elementów składowych, według nazwisk autorów artykułów. Serdecznie dzi ękujemy autorom wszystkich prac zamieszczonych w tym wydaniu Silva Iaponicarum za gotowo ść do ich publikacji w jednym specjalnym zeszycie naszego kwartalnika oraz za efektywn ą współprac ę w procesie opracowania tekstów. Redaktorzy Kolegium redakcyjne Kraków – Pozna ń –Toru ń – Warszawa – Kuki grudzie ń 2015 3 Dear Readers, This special issue of Silva Iaponicarum 日 林 contains articles received from Polish researchers focusing on Japanese film and cinema studies. We are delighted and honoured to present the most recent works of both the established representatives of Polish academics of the Japanese film studies together with conctributions from younger generation of scholars, who are at the begining of their academic careers. The special film fascicle is very diverse in terms of topics. This is why in the process of the compilation we decided to introduce the alphabetical order of papers (by the authors’ names) in the fascicle.