The Thin Red Line
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Notes for Chapter Re-Drafts
Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
Indian Horse
Contents 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 Acknowledgements | Copyright For my wife, Debra Powell, for allowing me to bask in her light and become more. I come into the peace of wild things who do not tax their lives with forethought of grief. I come into the presence of still water. And I feel above me the day-blind stars waiting with their light. For a time I rest in the grace of the world, and am free. WENDELL BERRY, “The Peace of Wild Things” 1 My name is Saul Indian Horse. I am the son of Mary Mandamin and John Indian Horse. My grandfather was called Solomon so my name is the diminutive of his. My people are from the Fish Clan of the northern Ojibway, the Anishinabeg, we call ourselves. We made our home in the territories along the Winnipeg River, where the river opens wide before crossing into Manitoba after it leaves Lake of the Woods and the rugged spine of northern Ontario. They say that our cheekbones are cut from those granite ridges that rise above our homeland. They say that the deep brown of our eyes seeped out of the fecund earth that surrounds the lakes and marshes. The Old Ones say that our long straight hair comes from the waving grasses that thatch the edges of bays. -
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. -
1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company. -
Press-File-2017.Pdf
MENU 2017 Edito ................................................................................................................................... 4 BIFFF Fun Facts ................................................................................................................... 5 Program ............................................................................................................................. 6 BIF Market .......................................................................................................................... 7 ArtBIFFF Expo .................................................................................................................... 8 2nd International Art Contest ............................................................................................ 9 Pimp My Chair .................................................................................................................. 10 34th Makeup Contest ....................................................................................................... 11 Gaming Madness day ....................................................................................................... 12 Magyar Movie Madness ................................................................................................... 13 Tromarathon .................................................................................................................... 14 Panorama ....................................................................................................................... -
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. -
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. -
DIARI DEL FESTIVAL Dimarts 12 Octubre 2010 2
Dimarts 12 d’Octubre de 2010 · Número 6 Pàg. 05 black death Pàg.Pàg. 0707 iid WWea aNmayorNt tto to be bequieroa soldier a soldier ser Pàg. 08 sruPe Pàg. 09 outraGe www.sitgesfilmfestival.com DIARI DEL FESTIVAL Dimarts 12 octubre 2010 2 INFO TICKET ENTRADES (IVA inclòs) VENDA ANTICIPADA 8€ Secció Oficial Fantàstic a Competició – Online: www.telentrada.com (Cost de Sitges 43 / Secció Oficial Fantàstic Panorama distribució: 0,90€) / Secció Oficial Noves Visions / Secció Casa Telèfon: 902 101 212 (Cost de distribució: Àsia / Secció Anima’t / Midnight X-Treme / 1,5€) Secció Seven Chances / Sessions Especials Oficines de Caixa Catalunya. (Cost de 6€ Retrospectives i Homenatges distribució: 2€) 7€ Sessions de curts d’animació a competició Les entrades adquirides a través de Tel- 10€ Programa doble / Maratons de 3 o més Entrada per a les projeccions de l’Auditori pel·lícules / Focus 3D s’hauran de recollir a la taquilla de l’Hotel 12€ Gales d’Inauguració i Cloenda / Melià ubicada a la Sala Tramuntana. Les Maratons del dia 17 d’octubre entrades adquirides a través de Tel-Entrada 4€ Sitges Fòrum (Classes magistrals) per a les projeccions del Prado i el Retiro s’hauran de recollir a la taquilla de l’edifici Miramar. ENTRADES ESPECIALS (IVA inclòs) L’Abonament Matinée només es podrà Abonament Matinée: 99€ imprimir als caixers de Caixa Catalunya. Vàlid per accedir a les sessions de l’Auditori, Diàriament s’hauran de recollir les entrades durant tot el Festival, en la franja de les pel mateix dia presentant l’Abonament imprès. 10h-12h-15h* (caps de setmana inclòs). -
Notes to Editors PRESS
EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. Page 2 – Full Programme Information, including: BFI Player collections Akira Kurosawa Classics Yasujirō Ozu Cult Anime Independence 21st Century Early Films of Japan (1894-1914) J-Horror BFI Blu-ray and DVD The Japanese Cinema Book UK wide activity Seasons at BFI Southbank: The Golden Age Radicals and Rebels Anime 21st Century Japanese cinema Mediatheque collection – Lost in Japan International partnerships Page 10 – Stills and moving image assets Page 11 – Notes to Editors PRESS CONTACTS: General enquiries about BFI JAPAN: Liz Parkinson – PR Manager, BFI Cultural Programme - [email protected] | 020 7957 8918 / 07810 378203 Judy Wells – Director, Press and PR, BFI - [email protected] | 020 7957 8919 / 07984 180501 Interviews with BFI spokespeople and selected talent available on request via Liz Parkinson FULL PROGRAMME HIGHLIGHTS EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. BFI PLAYER COLLECTIONS The BFI’s VOD service BFI Player will be the premier destination for Japanese film this year with thematic collections launching over a six month period (May – October): Akira Kurosawa (11 May), Classics (11 May), Yasujirō Ozu (5 June), Cult (3 July), Anime (31 July), Independence (21 August), 21st Century (18 September) and J-Horror (30 October). All the collections will be available to BFI Player subscribers (£4.99 a month), with a 14 day free trial available to new customers. There will also be a major new free collection Early Films of Japan (1894-1914), released on BFI Player on 12 October, featuring material from the BFI National Archive’s significant collection of early films of Japan dating back to 1894. -
Closing Film 閉幕電影
Sponsors and Acknowledgement 贊助及鳴謝 Presenter: In Association with: Title Sponsor: Festival Partners: Official Wine Paper Fully Official Water Sponsor: Sponsor: Sponsor: Supported by: TV Partner: Media Partners: Special Thanks: 6 | Opening Film Opening Film 開幕電影 MAD WORLD MOVIE 香港 Hong Kong / 2016 / 101 min / 粵語對白,中英文字幕 一念無明 In Cantonese with Chinese and English Subtitles 導演Dir: 黃進 Wong Chun 演員Cast: 余文樂 Shawn Yue, 曾志偉 Eric Tsang, 01 金燕玲 Elaine Jin, 方皓玟 Charmaine Fong *13/10 THU 7:30pm ONE 多倫多電影節 TIME Toronto International Film Festival *13/10 THU 9:25pm ONE 電影發展基金「首部劇情電影計劃」得獎作品 VENUE *28/10 FRI 9:40pm ONE First Feature Film Initiative, The Film Development Fund 百分百香港電影,百分百驚喜之作,更吸引兩位男主角無償 Following up his award-winning short 6th March, director 義演。新晉導演首部長片沒有隨波逐流靠大茄堆砌雞肋情 Wong Chun makes his feature debut with this surprising 景,卻道出香港每天正在發生的逼切問題,如情緒病、歧 and accomplished drama. Former financial analyst Wong Sai-tung, who suffers from bipolar disorder, is released from 視、家庭破裂、住屋問題及醫療制度等,並在刻劃同時提出 a mental hospital into the care of his estranged father. The 求變方案。阿東因工作壓力及需獨力照顧病重母親而患上躁 two struggle to come to terms with Tung’s illness and also a 鬱症與失業,身心癲疲的母子情緒苦無出口只能互相撕磨。 horrible incident involving Tung’s mother that scared them 某天阿東如常替失禁母親沖洗時意外誤殺了她,這時棄家不 both. With his father’s help, Tung makes a gradual return to 顧的父親才驚覺自己的逃避已釀成悲劇,遂應醫院建議接兒 society. But society is not so eager to take him back. With startling honesty and realism, Mad World tackles the subject 子到自己的劏房暫住。父子倆生命只剩下彼此,然而彼此卻 of mental illness in Hong Kong and asks how people – ill or -
To Download The
AFM PRODUCTPRODUCT GUIDEGUIDE EXHIBITORS AT AFM: Follows the story of a high2001 school cheer- WHISPERS FROM A SHALLOW DEATH CULT leader whose parents, friends and lovers GRAVE Martial Arts (85 minutes) think she is drifting toward becoming a les- Drama (90 minutes) Language: English bian. She is sent to a camp with other girls Language: English Director: Leo Fong and boys whose parents want them to Director: Ted Newsom Producer: Philip R. Cable A AAA become straight. Producer: Trudi Keck Cast: Leo Fong, Lorin Taylor Cast: Michelle Baurer, Trudi Keck Delivery Status: Available October 1, 2001 KILLER INSTINCT Delivery Status: Available Now Horror Thriller Budget: $250,000 A PLUS Budget: $200,000 For three decades assassins continually hunt Director: Ken Barbet The true story of a bikini model and her the man who ruined their plans for global ENTERTAINMENT Producer: Tony DiDio shocking murder which made headlines A Plus Entertainment, 15030 Ventura conquest. Exec. Producer: Denis Shusterman throughout the world. STAR FORCE Blvd., Suite 762, Sherman Oaks, CA THE NASA COLLECTION 91403 USA. Tel: 818.994.9831. Fax: Cast: Corbin Bernsen, Dee Wallace Stone, Sci-Fi, Action (85 minutes) Paige Moss Documentary (80 short films, 15 - 30 min- Language: English 818.994.9837. E-mail: utes each) [email protected]. Delivery Status: Completed Director: Mervin Fulton In the tradition of Scream and the US box Language: English At AFM: Emilio Ferrari (President), Gregg Director: Various Producer: Philip R. Cable Ratinoff (Vice-President of Worldwide office