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IL CINEMA GIAPPONESE LEGGE I CLASSICI proiezioni ore 19.00 ore proiezioni 21 febbraio > 22 marzo 2012 marzo >22 21 febbraio ingresso libero ingresso Martedì 21 febbraio ore 19.00 Giovedì 8 marzo ore 19.00 I AM A CAT Wagahai wa neko de aru / 吾輩は猫である The KI River Ki no kawa / 紀ノ川 di Kon ICHikAWA di Noboru NAKAMURA classici I Giovedì 23 febbraio ore 19.00 Martedì 13 marzo ore 19.00 THE MAKIOKA SISTERS Sasameyuki / 細雪 THE WOMAN IN THE DUNES Suna no onna / 砂の女 di Kon ICHikAWA di Hiroshi TESHIGAHARA legge Martedì 28 febbraio ore 19.00 Giovedì 15 marzo ore 19.00 LA MOGLIE DI VILLON Viyon no tsuma / SILENCE Chinmoku / 沈黙 ヴィヨンの妻 桜桃とタンポポ di Kichitaro NEGISHI di Masahiro SHinODA Giovedì 1 marzo ore 19.00 Lunedì 19 marzo ore 19.00 giapponese 野火 つぐみ Fires on the Plain Nobi / TSUGUMI Tsugumi / di Kon ICHikAWA di Jun ICHikAWA Martedì 6 marzo ore 19.00 Giovedì 22 marzo ore 19.00 cinema 山の音 食堂かたつむり THE ECHO Yama no oto / RINCO’S RESTAURANT Shokudo katatsumuri / il 21 febbraio > 22 marzo 2012 > 22 21 febbraio PROIEZIONI CALENDARIO di Mikio NARUSE di Mai TOminAGA Riduzione cinematografica dell’omonimo romanzo di Soseki NATSUME (1867-1916) Soseki Natsume (1867- 1916), uno dei più grandi scrittori Portò il romanzo realistico moderno dell’epoca Meiji (1868-1912). L’universo umano viene visto a piena maturità. I protagonisti delle sue opere si muovono tra nuove attraverso gli occhi di un gatto, voce narrante del libro ideologie provenienti dall’occidente e protagonista del film, osservatore ironico del modus e tradizione giapponese e sono vivendi di un insegnante di inglese e della sua cerchia di preferibilmente accademici e studiosi, vulnerabili e piuttosto isolati dal resto conoscenti e familiari. I personaggi descritti sono solo del mondo. Nel 1905 pubblicò il suo un pretesto per rimarcare la vita tragicomica degli esseri primo romanzo: Wagahai wa neko de aru (Io sono un gatto). Seguono, umani e i loro goffi tentativi di sottrarsi alle convenzioni tra gli altri, Bocchan (Il Signorino, sottotitoli in inglese ©Geiensha e all’ipocrisia della società. Famoso per le trasposizioni su 1906) e Sanshirô (Sanshirô, 1908). di Kon Ichikawa ore 19.00 grande schermo di testi letterari, Ichikawa aveva realizzato Opere in italiano disponibili presso vent’anni prima Kokoro (1955), tratto da un’altra famosa la Biblioteca dell’Istituto Giapponese: • Soseki Natsume. Io sono un gatto. opera dello stesso autore. Notevole la fotografia di Kozo Trad. di Antonietta Pastore. Vicenza: Okazaki, autore delle magistrali inquadrature dei tre Neri Pozza, 2006. Wagahai wa neko de aru • Soseki Natsume. Il signorino. Trad. 吾輩は猫である esemplari felini utilizzati nel film. / di Antonietta Pastore. Vicenza: Neri Pozza, 2007. • Soseki Natsume. Guanciale d’erba. Trad. di Lydia Origlia. Milano: Editoriale Nuova, 1983 • Soseki Natsume. Sanshirō. Trad. Maria Teresa Orsi. Venezia: Marsilio, 1990. • Soseki Natsume. Il cuore delle cose. Martedì 21 febbraio febbraio 21 Martedì I AM A CAT Io sono un gatto dalTratto romanzo (Io sono un gatto, 1905) di Soseki Natsume Wagahai wa neko de aru, 1975, 35mm, C, 115’ Trad. Nicoletta Spadavecchia. Vicenza: Neri Pozza, 2001. Interpreti Tatsuya Nakadai (Kushami) Kuriko Namino (Sua moglie) Juzo Itami (Meitei) Nobuhito Okamoto (Kangetsu) Yoko Shimada (Yukie, nipote di Kushami) Shinsuke Minami (Kaneda, uomo di affari) Mariko Okada (sua moglie Hanako) Hiroko Shino (sua figlia Tomiko) ©1975 Geiensha 4 5 Dopo aver girato Kagi (La chiave) nel 1959, Ichikawa realizza Jun’ichiro TaniZAKI (1886-1965) il suo secondo lungometraggio tratto da un romanzo di È uno degli esponenti di spicco Jun’ichiro Tanizaki (1886-1965), grande scrittore del ‘900 della letteratura moderna giapponese, tra i più popolari anche in occidente. I noto per lo stile orientato verso un’estetica sensuale. Il film è suoi ritratti di personaggi in preda ambientato a Osaka e Kyoto nel 1938 e segue per cinque anni a ossessioni erotiche, di figure femminili le vicende matrimoniali e pre-matrimoniali di quattro sorelle sensuali e fatali, accanto a quelli di nuclei familiari alle prese con i rapidi della famiglia Makioka. Le ragazze, secondo le convenzioni cambiamenti imposti al Giappone nel del tempo e del loro status sociale, dovevano sposarsi corso del XX secolo, rimangono tra le pagine più intense della produzione rispettando l’ordine di età e solo dopo aver partecipato a vari letteraria nipponica. Sasameyuki o-miai, incontri ufficiali a scopo di matrimonio organizzati (Neve sottile), l’imponente romanzo scritto tra il 1943 il 1948, è considerato (Neve sottile, 1948) dalla famiglia. Le due sorelle maggiori, già maritate, tentano ore 19.00 uno dei suoi capolavori e ritrae con di trovare un marito per la terzogenita Yukiko la quale, per via nostalgica eleganza il declino di una sottotitoli in inglese © Toho Co., Ltd. nobile famiglia di mercanti prima dello di Kon Ichikawa Kon di del comportamento esuberante e smaliziato dell’ultimogenita, scoppio della Guerra. si è trovata coinvolta suo malgrado in uno scandalo 細雪 Sasameyuki / sentimentale compromettente finito sul giornale. Opere in italiano disponibili presso la Biblioteca dell’Istituto Giapponese: • Jun’ichiro Tanizaki. Neve sottile. Trad. di Olga Ceretti Borsini. Parma: Ugo Guanda, 1989. • Jun’ichiro Tanizaki. L’amore di uno sciocco. Trad. Carlo De Dominicis. Milano: Bompiani, 1967. • Jun’ichiro Tanizaki. La chiave. Giovedì 23 febbraio 23 febbraio Giovedì dalTratto romanzo di Jun’ichiro Tanizaki THE MAKIOKA SISTERS Makioka sorelle Le Sasameyuki, 1983, 35mm, C, 140’ Trad. di Satoko Toguchi. Milano: Bompiani, 1983. Interpreti • Jun’ichiro Tanizaki. La croce buddista. Keiko Kishi (Tsuruko Makioka) Trad. di Lydia Origlia. Yoshiko Sakuma (Sachiko Makioka) Parma: Guanda, 1982. Sayuri Yoshinaga (Yukiko Makioka) • Jun’ichiro Tanizaki; Libro d’ombra. Yuko Kotegawa (Taeko Makioka) Trad. di Atsuko Ricca Suga. Juzo Itami (Tatsuo, marito di Tsuruko) Milano: Bompiani, 1982. Koji Ishizaka (Teinosuke, marito di Sachiko) ©1983 Toho Co., Ltd. 6 7 Melodramma tratto da un romanzo dello scrittore Osamu Osamu DAZAI (1909-1948) Dazai, scritto nel 1947. Ambientato a Tokyo nel periodo Vero nome Shūji Tsushima, esordì alla post-bellico, è la storia della sofferta relazione tra Sachi scrittura nel 1933 con un breve racconto dal titolo Ressha (Treno) redatto in e suo marito, Joji Otani (interpretato dal famoso attore prima persona con stile autobiografico, Tadanobu Asano), un romanziere autolesionista, infedele e una caratteristica costante nella con il vizio dell’alcool. Una notte Otani ruba 5.000 yen dalla sua produzione letteraria, indicata di Kichitaro Negishi con il termine Shishôsetsu (romanzo cassa del bar in cui è solito recarsi a bere; i padroni del dell’io). Dazai è lo scrittore che più sottotitoli in italiano ©FUJI locale lo inseguono fino alla porta di casa, minacciandolo di esplicitamente riflette il senso di perdita e confusione che seguì la devastante rivolgersi alla polizia in caso di mancata restituzione. Otani esperienza della Seconda Guerra (La moglie di Villon, 1947) reagisce con violenza ma a calmare gli animi interviene Mondiale; la critica lo ha inserito nella corrente Burai-ha (scuola decadente), ore 19.00 Sachi, la quale - per evitare ulteriori problemi - propone nella quale confluirono giovani delusi all’anziana coppia di lavorare nel bar fino a che i debiti del e insoddisfatti che si rifugiarono in una vita dissoluta spesso culminante marito nei loro confronti non siano completamente estinti. nell’esperienza del suicidio. La sua fama Sachi viene rappresentata come una donna forte e positiva, raggiunse l’apice proprio nel periodo Viyon no tsuma no Viyon ヴィヨンの妻 桜桃とタンポポ capace di amare in modo profondo l’uomo che le provoca post-bellico con i romanzi Viyon no tsuma (La moglie di Villon, 1947), Shayo tanti dispiaceri, con una logica che trascende il comune (Il sole si spegne, 1947) e il semi- sentire. Al contrario Otani incarna la figura di un uomo autobiograficoNingen shikkaku (Lo squalificato, 1948). debole, prigioniero del vizio, incapace finanche di gestire quella celebrità che lo rende così affascinante agli occhi Opere in italiano disponibili presso la Biblioteca dell’Istituto Giapponese: delle donne. Con questo film Negishi ha vinto il Premio • Osamu Dazai. La moglie di Villon. Martedì 28 febbraio 28 febbraio Martedì La moglie di Villon / Viyon no tsuma - Oto tampopo, to 2009, DVD, C, 114’ TELEVISION, PAPADO, Nihon Eiga Satellite Broadcasting dalTratto romanzo di Osamu Dazai LA MOGLIEVILLON DI come miglior regista alla 33esima edizione del Montreal In Narratori giapponesi moderni a cura di Atsuko Ricca Suga. Milano: Interpreti World Film Festival. Bompiani, 1965. Takako Matsu (Sachi) • Osamu Dazai. Il sole si spegne. Tadanobu Asano (Joji Otani) Trad. dall’inglese di Luciano Ryoko Hirosue (Akiko) Bianciardi. Milano: Feltrinelli, 1984. Satoshi Tsumabuki (Okada) • Osamu Dazai. Lo squalificato. Trad. Shinichi Tsutsumi (Tsuji) a cura di Marcella Bonsanti. Milano: Feltrinelli, 1962. • Osamu Dazai. Ciliegie. In Novelle e saggi giapponesi. Roma: Istituto Giapponese di Cultura, 1985. ©2009 Fuji Television Network/Papado/ • Osamu Dazai. Joseito: la studentessa. Shinchosha Publishing /Nihon Eiga A cura di Mario Scalise. Satellite Broadcasting Corporation Treviso: Pagus Edizioni, 1991. 8 9 Crudo film di guerra, ambientato sull’isola di Leyte nelle Shohei OOKA (1909-1988) Filippine durante l’inverno del 1945, quando le Forze Alleate Tra gli esponenti della “prima costrinsero alla resa l’esercito Imperiale Giapponese che, generazione” di scrittori del
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    THE JAPAN FOUNDATION NEWSLETTER VOL. XXVIII/NO. 1 AUGUST 2000 On Other Pages Sound Japan Cultural Highlights From the Japanese Press (January 1–May 31, 2000) 8 Christopher Yohmei Blasdel Research Reports Depiction of the Family in Con- temporary Japanese Cinema 9 Masao Maruyama 12 Reclaiming Cultural Identity, Re- everal people sit in a simple tatami-matted room, enjoying the deliberate move- jecting Deviance, and “Doing ments of the tea ceremony. All is silent except for the susurrant rattle of the Homelessness” in Ueno Park 15 teapot’s iron lid as steam rushes out. This murmur is punctuated by the soft Book Reviews 18 S whisks of the bamboo stirring brush. Foundation Activities A shishiodoshi bamboo ladle, set along the stream in a traditional Japanese garden, Exhibition of Children’s Pic- ture Book Illustrations from slowly fills with water. As critical mass is achieved, the liquid is dropped. The base of Korea 20 the ladle hits a stone on the rebound, sending a report throughout the garden. In another part of the garden, a suikinkutsu jar, partially filled with water, is buried just below ground level. As water slowly drops into the jar from above, sonorous plops The Japan Foundation Newsletter is distrib- escape into the garden, audible only to those who wait, patiently, near the jar’s opening. uted free of charge to individuals and organizations interested in Japanese Cicada hum in unison from the luxuriant growth of summer. Later, as evening cools Studies and international cultural ex- to night, the shrill sounds of their higurashi cousins reverberate back and forth, as they change.
  • Japanese Videos - (Last Update September 13, 2019) Use the Find Function to Search This List

    Japanese Videos - (Last Update September 13, 2019) Use the Find Function to Search This List

    Japanese Videos - (last update September 13, 2019) Use the Find function to search this list Aspects of the Kabuki Theater of Japan 198?, 20 minutes, English. Shows costumes, make up, and examples of Kabuki productions. Accompanied by traditional Kabuki music. JCU Library CALL NO. PN2924.5.K3.A86 Career Escalator, The – with notes Education and Job Competition. LLC Library CALL NO. JP 008 – C Double Suicide Double Suicide Director: Masahiro Shinoda. 1969, 105 minutes, B&W, Japanese with English subtitles. Compelling drama based on a traditional Bunraku puppet play which is performed within the film itself about a married man who plans a suicide pact with his mistress. LLC Library CALL NO. JP 012 Funeral, The Director: Juzo Itami. with Nobuko Miyamoto, Tsutomu Yamazaki. 1985, 114 minutes, Japanese with English subtitles. Darkly funny tale of a contemporary Japanese family’s skewed attempts to conduct a traditional Buddhist service for their late patriarch. Controversial, compelling comic effort on the part of director and actors. LLC Library CALL NO. JP 009 Japan Invades China PBS Video, 1989, 51 minutes. 1. Highlights Japan’s expansion into French Indochina, the Dutch Indies, Burma, Malaya and the Philippines. 2. Focuses on the diplomatic and economic pressure placed on Japan prior to the attack on Pearl Harbor. JCU Library CALL NO. D443.J36 Japanese Version, The 1991, 56 minutes. The film explores Japan’s fascination with things American, pointing out that in borrowing from other cultures, there emerges a distinct Japanese slant on such things as American baseball, the 1950’s, weddings, and love hotels. JCU Library CALL NO.
  • JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres

    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.
  • Movie Museum MAY 2019 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY

    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
  • PAJ77/No.03 Chin-C

    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.