Survey Responses for Website 080421.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Takeshi Kitano O'brien, Shelley Available from Sheffield Hallam University Research Archive (SHURA) At
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sheffield Hallam University Research Archive Filmbites presents : Takeshi Kitano O'BRIEN, Shelley Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/15360/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version O'BRIEN, Shelley (2015). Filmbites presents : Takeshi Kitano. In: Filmbites presents : Takeshi Kitano, Sheffield, Three Sundays in May. (Unpublished) Repository use policy Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in SHURA to facilitate their private study or for non- commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. Sheffield Hallam University Research Archive http://shura.shu.ac.uk FILMBITES PRESENTS TAKESHI KITANO PRESENTED BY THE SHOWROOM CINEMA in association with SHEFFIELD HALLAM UNIVERSITY Tutor: Shelley O'Brien Takeshi Kitano aka 'Beat' Takeshi Takeshi Kitano has gained a reputation as the most original Japanese director of recent years. He can also be regarded as a renaissance man in that he is a multi- talented film editor, screenwriter, actor, comedian, television personality, painter, tap dancer and author. Each of these facets underpin his work as a director. Indeed, Kitano can be regarded as an auteur - in the truest sense - writing, directing, acting in and editing films under his company label Office Kitano, as well as employing the same personnel such as actor, Susumu Terajima, and composer, Joe Hisaishi. -
Maquette Hana-Bi
Un film de Takeshi Kitano LYCÉENS AU CINÉMA EN RÉGION CENTRE SOMMAIRE AVANT-PROPOS 3 Takeshi qui rit et Takeshi qui pleure LE CINÉASTE 4 Docteur Kitano et Mister “Beat” Takeshi L’ÉQUIPE DU FILM 5 Le musicien et l’homme-orchestre HISTOIRE DU FILM 6 De l’accident à la reconnaissance LES PERSONNAGES 7 Artistes et modèles ANALYSE DU RÉCIT 8 Un escalator narratif MISE EN SCÈNE 10 Le musical et le pictural CHEMINS DE TRAVERSE 12 Le générique de début : tout un programme Atelier montage « Beaucoup de critiques et de journalistes parlent de mes films comme d’œuvres avant tout violentes. Or, pour moi, le rapport entre la douceur et la violence ressemble au mouvement d’un pendule. Plus un homme PISTES DE RÉFLEXION 16 est tendre, plus il peut devenir extrêmement cruel et brutal. C’est en lui que l’écart entre les deux états Un film qui se voit en peinture d’âme peut être le plus extrême, car il a une capacité de ressentir les émotions les plus profondes. Cela peut paraître une exagération, mais il me semble que l’acte amoureux ultime peut être le meurtre de celui que AUTOUR DU FILM 19 vous aimez ». Les femmes et les enfants d’abord Takeshi Kitano, Entretien avec Michel Ciment, Positif n°441, 1997 Extraits critiques DOCUMENTS 20 L’éternité retrouvée Lycéens au cinéma en région Centre est coordonné par l’Atelier de Production Centre Val de Loire, réalisé avec le soutien du Centre National de la Bibliographie Cinématographie, de la Région Centre, de la DRAC Centre et du Rectorat de l’Académie Orléans-Tours et le concours des salles de cinéma partici- pant à l’opération. -
Il Nuovo Yakuza Eiga: Sviluppo E Caratteristiche Del Genere E Dei Suoi Eroi
Corso di Laurea Magistrale in Lingue, economie e istituzioni dell’Asia e dell’Africa mediterranea Tesi di Laurea Il Nuovo yakuza eiga: sviluppo e caratteristiche del genere e dei suoi eroi Relatore Ch.ma Prof.ssa Maria Roberta Novielli Correlatore Ch.ma Prof.ssa Paola Scrolavezza Laureanda Elvira Nezi Matricola 840783 Anno Accademico 2016 / 2017 要旨 日本と同じように、イタリアでもマフィアは政治的・経済的に非常に権力のある組織であ る。マフィアが普及するにつれて、そしてお金と勢力を力ずくで手に入れていくにつれて、ますま す市民の平穏な人生と命は脅されるようになった。自分の利益のことを考え、マフィアに属し ている人達が弱い市民からお金をだまし取り、殺すと脅迫し、実際に命を奪う場合も多い。 そのため、イタリア映画に描かれているマフィアのイメージは今も昔も当然良いイメージではな い。 一方、かなり長い間にわたって日本では事実と違うヤクザのイメージが映画を通して伝え られたのは明白である。日本の暴力団はイタリアのマフィアとそれほど異なるわけではないが、 それでも1925年ごろから1970年代にわたって、ヤクザの極道者が親切で誠実な人 たちとして描かれていた。面白くて興味深いことはヤクザの構成員さえヤクザ映画の展開に 貢献したことである。ヤクザ映画を見たり、作ったりするだけではなく、ヤクザ映画で演じたこと もあるのである。例えば元ヤクザ俊藤浩滋は東映の有名なプロデューサーであった。彼がヤク ザ映画のスターになった安藤昇、高倉健、鶴田浩二をスカウトしたそうである。ちなみに安藤 昇も元ヤクザであった。 では、どうして本当のヤクザはそんな風に振舞うわけではないのに、映画には勇ましいロビ ンフッドとして描かれていたのだろう。どうして極道者であるのに観客の心を奪うことができたの だろう。映画館の観客者の大半は男性であったが、ヤクザ映画のヒーローはその男性にどんな 理想的な男性像を伝えたのだろう。ヤクザ映画は日本社会に関して何を教えているのだろう。 この卒業論文の目的は加藤泰、石井輝男、鈴木清順、深作欣二、北野武の映画を 論じながら、以上の質問の答えを出すことである。そして、ヤクザ映画の主なサブジャンルとそ れぞれのヒーローの誕生と展開を詳しく検討することである。 一般的にヤクザ映画は仁侠映画と実録映画という二つの主なサブジャンルに大きく分 けられている。この論文の核心である上述の監督がそれぞれのサブジャンルの展開に自分な りに貢献し、戦後に誕生した「新しいヤクザ映画」と言われるジャンルを有名にした。 実はもう一つのサブジャンルがあり、股旅映画と呼ばれている。股旅映画は戦前に誕生 したので、ヤクザ映画とは少し異なると言われる。しかし、ヤクザ映画を一層良く理解するた めにまず伊藤大輔や野村芳亭などという映画監督の股旅映画に関して一言述べる必要が あると思う。 旅映画は1920年代に誕生した剣劇、いわゆるチャンバラ(剣の音を表す言葉) のサブジャンルである(剣劇は有名な時代劇のサブジャンルである)。股旅映画は時代劇 と違い、主人公が侍ではなく、股旅物と呼ばれているヤクザヒーローであった。この渡世人が 一人で放浪し、あちこち行き先のない旅行をしていた。知らない親分に宿泊を請い、様々な -
The Bombay the Terrorist Ti Koun .
644 CHAPTER 26 Beyond the Industrialized West 26.1 0 The Bandit Queen: Phoolan 26.1 1 Bombay's vision of a united India: as the parents are reunited with their Devi protects her wounded lover. children, hands drop weapons and stretch out in friendship. critical cinema. "In India, there is no salvation outside Yet local audiences remained loyal to the national the commercial cinema." 1 Also pursuing this path was product-which was now incorporating more sexuality Mani Rathnam, a Tamil filmmakerwho found great suc along with MTV dance styles (e.g., Trimurti, 1995). Juras cess with Nayakan ("Hero," 1986), an adaptation of The sic Park was unable to trump another 1994 release, the Godfather. Rathnam's Bombay (1994) denounces the traditional romantic comedy-drama Hum Aapke Hain bloody religious strife of the early 1990s. A Hindu jour Koun ... ! ("Who Am I to You? "). Filled with sparkling nalist marries a Muslim woman, and the couple and their studio-shot dance numbers (Color Plate 26.5), it became children are thrust into the middle of anti-Muslim riot the most popular filmof the decade. Even after restric ing. Bombay neighborhoods are spectacularly re-created tions were lifted, American imports claimed no more than in a Madras studio, riot scenes are shot and edited for 10 percent of the box office. In a country where nearly visceral force, hand-held cameras race through the half the population earned only a dollar a day, admission streets, and children watch as people trapped in cars are to a local filmran only about fifty cents while Hollywood burned alive. -
Excellence for Oral Roberts University Alumni and Friends
fall 2010 excellence for oral roberts university alumni and friends Mabee Center Banquet Room CONSTRUCTED Trash Compactor Fred Creek RELOCATED REHABILITATED (Thank you, city of Tulsa) Chemistry Labs REMODELED Landscaping Kennedy Chapel ENHANCED REVIVED The Same, Only Better! Thanks to the Green family’s multi-million-dollar gifts, ORU has completed more renovations and addressed additional deferred maintenance this year. The results? Breathtaking. (See page 5) your voice Our Story, by God’s Grace! “Sing to God, sing praise to his name, extol him who rides on the clouds — his name is the LORD — and rejoice before him. A father to the fatherless, a defender of widows, is God in his holy dwelling” (Psalm 68:4-5). We alumni know what it is to go into every person’s world and we find joy in watching and supporting ORU as it continues to train and equip students to follow in our footsteps. Whether it’s in the mission field, the business arena, the arts, or the sciences, we know and have the experience to say with certainty that a degree from Oral Roberts University is the best preparation there is to go out from here and to change lives. (Just ask Freddy Boswell, who is featured in this issue.) I have the privilege of serving with Compassion International, a Alumni like Desmond Shepherd (in the yellow shirt, seen here with the children at a village Christ-centered child development school in India) are making an enormous difference in the lives of others. Read Desmond’s story on page 42. organization with a mission to rescue children from poverty in Jesus’ name. -
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 -
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. -
STORY by KORE-EDA Hirokazu
ENGINE FILM, BANDAI VISUAL, TV MAN UNION, EISEI GEKIJO, ASMIK ACE ENTERTAINMENT present a TV MAN UNION Production AIR DOLL [KUKI NINGYO] A VERY “HUMAN”STORY by KORE-EDA Hirokazu Head Office Asia Office Van Diemenstraat 100 14/FL. Harbour Commercial Building 1013 CN Amsterdam 122-124 Connaught Rd. Central The Netherlands Hong Kong, S.A.R. Phone: +31 20 627 3215 Phone: (852) 2311 8081 Fax: +31 20 626 1155 Fax: (852) 2311 8023 E-mail: [email protected] E-mail: [email protected] INTERNATIONAL SALES HEAD OFFICE CANNES OFFICE Van Diemenstraat 100 Residence du Grand Hotel 1013 CN Amsterdam Entrance Goeland Netherlands Apartment 7D, 45, La Croisette Phone : +31 20 627 3215 Phone: +33 (0) 4 93 68 29 83 Fax : +31 20 626 1155 Fax: +33 (0) 4 93 68 29 83 E-mail : [email protected] E-mail : [email protected] www.fortissimofilms.com INTERNATIONAL PRESS LONDON CANNES 192-198 Vauxhall Bridge Road Hotel Majestic, Salon Royan 1 London SW1V 1DX 10, La Croisette Phone : +44 207 932 9800 Phone : +33 (0) 4 97 06 85 85 Fax : +44 207 932 4950 Fax: +33 (0) 4 97 06 85 86 Martin McNamara Mobile: 06 66 67 61 33 E-mail : [email protected] E-mail : [email protected] www.ddapr.com FRENCH DISTRIBUTOR OCEAN FILMS DISTRIBUTION 6 rue Lincoln 75008 Paris Phone: +33 (0)1 56 62 30 30 Fax: +33 (0)1 56 62 30 40 E-mail: [email protected] FRENCH PRESS Matilde Incerti : +33 (0)6 08 78 76 60 Herve Dupont : +33 (0)6 14 38 41 55 Audrey Taziere : +33 (0)6 63 94 42 73 Hotel Universe 2 rue Marechal Foch 06400 Cannes C R E W Written and Directed by KORE-EDA Hirokazu Development Producer YASUDA Masahiro Executive Producers KAWASHIRO Kazumi SHIGENOBU Yutaka HISAMATSU Takeo TESHIMA Masao Producers URATANI Toshiro KORE-EDA Hirokazu Associate Producer KATO Yoshihiro Original Story Based on the original graphic novel “Gouda’s Philosophical Discourse, The Pneumatic Figure of a Girl” by GOUDA Yoshiie, published by SHOGAKUKAN INC. -
Filmbites Presents : Takeshi Kitano O'brien, Shelley Available from Sheffield Hallam University Research Archive (SHURA) At
Filmbites presents : Takeshi Kitano O'BRIEN, Shelley Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/15360/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version O'BRIEN, Shelley (2015). Filmbites presents : Takeshi Kitano. In: Filmbites presents : Takeshi Kitano, Sheffield, Three Sundays in May. (Unpublished) Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk FILMBITES PRESENTS TAKESHI KITANO PRESENTED BY THE SHOWROOM CINEMA in association with SHEFFIELD HALLAM UNIVERSITY Tutor: Shelley O'Brien Takeshi Kitano aka 'Beat' Takeshi Takeshi Kitano has gained a reputation as the most original Japanese director of recent years. He can also be regarded as a renaissance man in that he is a multi- talented film editor, screenwriter, actor, comedian, television personality, painter, tap dancer and author. Each of these facets underpin his work as a director. Indeed, Kitano can be regarded as an auteur - in the truest sense - writing, directing, acting in and editing films under his company label Office Kitano, as well as employing the same personnel such as actor, Susumu Terajima, and composer, Joe Hisaishi. The youngest of four brothers, Kitano was born in Tokyo in 1947 and lived in poor conditions in the aftermath of World War II. His family life had a significant impact on the films he would later create, not least the influence of his father, Kikujiro - a hard- working but violent man. Extremely bright and talented, he was accepted at Meiji University but soon left. -
A Film by Takeshi Kitano
a film by Takeshi Kitano INTERNATIONAL SALES INTERNATIONAL PRESS Celluloid Dreams, the directors label Richard Lormand 2 rue Turgot, 75009 Paris world cinema publicity T: +33 1 49 70 03 70 www.filmpressplus.com F: +33 1 49 70 03 71 M: +33-6-0949-7925 www.celluloid-dreams.com T: +33-1-4804-5173 [email protected] F: +33-1-4804-8043 Takeshis’ a film by Takeshi Kitano 2005 - Japan - 108’ - 35mm - Color - 1:85 - Dolby SRD photos downloadable at www.filmpressplus.com/surprise © 2005 BANDAI VISUAL, TOKYO FM, DENTSU, TV ASAHI, OFFICE KITANO. ALL RIGHTS RESERVED In Competition Surprise Film Venice 2005 Masters Toronto 2005 CAST BEAT TAKESHI KITANO as Beat Takeshi, the movie star, & Mr. Kitano, Beat’s CREW Blond Lookalike. KOTOMI KYONO as Beat Takeshi’s written, edited & directed by Girlfriend & Kitano’s Neighbor. TAKESHI KITANO KAYOKO KISHIMOTO as the Woman at costumes YOHJI YAMAMOTO the Mahjong Parlor & the Producer at cinematography KATSUMI YANAGIJIMA the Audition & the Bank Customer & lighting design HITOSHI TAKAYA others. production design NORIHIRO ISODA REN OHSUGI as Beat Takeshi’s Manager sound design SENJI HORIUCHI & the Taxi Driver. editor YOSHINORI OTA SUSUMU TERAJIMA as Beat Takeshi’s 1st assistant director TAKASHI MATSUKAWA Long-time Acquaintance & Kitano’s script supervisor KUMIKO YOSHIDA Yakuza Neighbor. production manager KENSEI MORI TETSU WATANABE as the TV Wardrobe casting TAKEFUMI YOSHIKAWA Master & the Noodle Cook & the music producer MISAKO NODA Auditioning Middle-aged Actor. music NAGI AKIHIRO MIWA as MIWA, the Singer. sound effects KENJI SHIBASAKI line producer SHINJI KOMIYA producers MASAYUKI MORI and TAKIO YOSHIDA SYNOPSIS Beat Takeshi lives the busy, and sometimes surreal, life of a show biz celebrity. -
The Disappearance of the French New Wave
Connecticut College Digital Commons @ Connecticut College Toor Cummings Center for International Studies CISLA Senior Integrative Projects and the Liberal Arts (CISLA) Spring 5-15-2021 The Disappearance of The French New Wave Emir Kulluk [email protected] Follow this and additional works at: https://digitalcommons.conncoll.edu/sip Part of the Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Kulluk, Emir, "The Disappearance of The French New Wave" (2021). CISLA Senior Integrative Projects. 20. https://digitalcommons.conncoll.edu/sip/20 This Senior Integrative Project is brought to you for free and open access by the Toor Cummings Center for International Studies and the Liberal Arts (CISLA) at Digital Commons @ Connecticut College. It has been accepted for inclusion in CISLA Senior Integrative Projects by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Emir Kulluk CISLA SIP: The Disappearance of The French New Wave Around the start of the 20th century, two French brothers, Auguste and Louis Lumière, invented the cinématographe and changed the world of art with the birth of the 7th medium. Screening some of their 20 to 30 second short films on the 28th of December in a cafe in Paris, it was rumored that audiences were screaming in shock because they thought that a train was moving towards them. The Lumière brothers, realizing that film had the potential to show different aspects of life and even different portions of the world, decided to capitalize on this opportunity, recording a whole plethora of short documentaries, showing something as distant as the pyramids or even something as simple as them feeding their child. -
Takeshi Kitano Venice Film Festival 2003 in Competition
a film by Takeshi Kitano Venice Film Festival 2003 In Competition Bandai Visual, To k yo FM, Dentsu, TV Asahi, Saito Entertainment and Office Kitano pr e s e n t a film by Takeshi Kitano s t a r r i n g Beat Takeshi a n d Tadanobu Asano World Sales: Celluloid Dreams 2, Rue Tu rgot 75009 PA R IS tel. +33-1-4970 - 0370 fax. +33-1-4970 - 037 1 www. c e l l u l o i d- d r e a m s . co m International Press: Ri c h a rd Lormand www. f i l m pr e s s p l u s . co m i n t l pr e s s @ a o l . co m tel. +33-1-4804-5173 fax. +33-1-4804-8043 tel. +39-3 4 9 - 6 1 6 - 5 9 8 1 o r + 3 9 -3 47- 2 5 6 - 4 1 4 3 2 0 03 - Japan - 116' - Color - 35mm - 1:85 - Dolby SRD Not only is ZATOICHI my first period piece, but it's also the first time since my directorial debut VIOLENT COP that I have made a film from an existing idea conceived by someone else. I thought ZATOICHI was going to be a tough film to make because making a period piece is commonly considered to be much more painstaking. It actually turned out to be quite a fun film to make. I found the whole process of making a period piece much more fictitious because I had to fabricate everything.