SKIP CITY INTERNATIONAL D-Cinema FESTIVAL 2017
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Aichi Triennale 2019 Has Announced the List of Additional Artists
Aichi Triennale 2019 Press Release _ Participating Artists As of March 27, 2019 Aichi Triennale 2019 Has Announced the List of Additional Artists Aichi Triennale—an international contemporary art festival that occurs once every three years and is one of the largest of its kind—has been showcasing the cutting edge of the arts since 2010, through its wide-ranging program that spans international contemporary visual art, film, the performing arts, music, and more. This fourth iteration of the festival welcomes journalist and media activist Daisuke Tsuda as its artistic director. By choosing “Taming Y/Our Passion” as the festival’s theme, Tsuda seeks to address “the sensationalization of media that at present plagues and polarizes people around the world.” He hopes that by “employing the capacity of art— a venture that, capable of encompassing every possible phenomenon, eschews framing the world through dichotomies—to speak to our compassion, thus potentially yielding clues to solving this predicament.” Aichi Triennale 2019 announced the addition of 47 artists to its lineup on 27 March 2019; the list now comprises a total of 79 artists. Outline of Aichi Triennale 2019 http://aichitriennale.jp/ Theme | Taming Y/Our Passion Artistic Director | TSUDA Daisuke (Journalist / Media Activist) Period | August 1 (Thursday) to October 14 (Monday, public holiday), 2019 [75 days] Main Venues | Aichi Arts Center; Nagoya City Art Museum; Toyota Municipal Museum of Art and off-site venues in Aichi Prefecture, JAPAN Organizer | Aichi Triennale Organizing -
Exploring the Japanese Heritage Film
῏ῑῒΐ ῐ ῍ ῍῎ῌῌ῏῎ Cinema Studies, no.1 Exploring the Japanese Heritage Film Mai K6ID Introduction The issue of heritage film has become one of the most crucial and frequently discussed topics in Film Studies. Not only has the argu- ment about British ῍or English῎ heritage film been developed by many researchers,1 but the idea of the heritage film has also begun to be applied to the cinema of other countries. A remarkable example in the latter direction is Guy Austin’s examination of la tradition de qualité in French cinema as a heritage genre ῍142῎ῌ One of the main aims of this article is to provide support for the proposal that the concept of heritage films should be applied internationally, rather than solely to the British cinema. This is because I believe the idea of the heritage film could be one of the main scholarly research field in Film Studies as a whole, as it encompasses a large number of areas including representation, gender, genre, reception, marketing, politics and tourism. Like canonical research fields in Film Studies such as Film Noir or The New Wave, the idea of The Heritage Film establishes an alternative method of examining and understanding film. In order to demonstrate the capability of the heritage film con- cept, and in particular its adaptability beyond the confines of British cinema, this article aims to apply it to Japanese cinema. In con- sideration of what kind or type of Japanese cinema might be eligible as heritage film, the most likely answer is Jidaigeki, which can loosely be understood as period dramas. -
By Shinya Tsukamoto
“Killing” (Zan) by Shinya Tsukamoto © 2018 SHINYA TSUKAMOTO / KAIJYU THEATER Director: Shinya Tsukamoto Country: Japan Genre: Drama, Sword action Duration: 80min. Actors – Filmography: (selective) Sosuke Ikematsu (Mokunoshin) - The Tokyo Night Sky is Always The Densest Shade of Blue (‘17), The Long Excuse (‘16), Death Note: Light Up the New World (‘16), The Last Samurai (‘03) Yu Aoi (Yu) - Birds Without Names (‘17), Tokyo! (by Bong Joonho ’08), Hula Girls (’06), Hana and Alice (’04) Tatsuya Nakamura (Genda) - Fires on the Plain (‘14), Bullet Ballet (’99) Shinya Tsukamoto (Sawamura) - Silence (by Martin Scorsese ’16), Shin Godzilla (’16), Fires on the Plain (‘14) [International Sales] [Production] NIKKATSU CORPORATION Kaijyu Theater 3-28-12, Hongo, Bunkyo-ku Tokyo 113-0033, JAPAN Phone：+81-3-5689-1014 Emico Kawai & Taku Kato [email protected] FESTIVAL Mami Furukawa [email protected] < Synopsis > After about 250 years of peace in Japan, samurai warriors in the mid-19th century were impoverished. Consequently, many left their masters to become wandering ronin. Mokunoshin Tsuzuki (played by Sosuke Ikematsu) is one such samurai. He survives by helping farmers in a village out of Edo. To maintain his swordsmanship skills, Mokunoshin spars daily with Ichisuke (Ryusei Maeda), a farmer's son. Ichisuke's sister Yu (Yu Aoi) watches them train with a hint of disapproval although there's an unspoken attraction between her and Mokunoshin. While farm life is peaceful, there is monumental turmoil in Japan. The US Navy has sent Commodore Perry to Japan to insist that it trades with them. This in turn causes civil unrest. -
Under the Open Sky
Under the Open Sky (Original title: Subarashiki Sekai) Length: 126min. / Release in Japan: Feb 11, 2021 SYNOPSIS Mikami, an ex-yakuza of middle age with most of his life in prison, gets released after serving 13 years of sentence for murder. Hoping to find his long lost mother, from whom he was separated as a child, he applies for a TV show and meets a young TV director Tsunoda. Meanwhile, he struggles to get a proper job and fit into society. His impulsive, adamant nature and ingrained beliefs cause friction in his relationship with Tsunoda and those who want to help him. INTERVIEW with Director NISHIKAWA Miwa --How were you inspired by the novel that this film is based on? Mr. Ryuzo Saki’s novel, Mibuncho (tr. “Inmate Files”), is written like a documentary about an actual murderer’s life after his release from prison. I encountered this novel around 30 years after its publication and was surprised at how rigorous the adventure is for someone to go back to a “normal life” once they step off the path. The social system has changed in the past 30 years, but people’s thoughts and attitude toward ex-convicts have not to the same degree. Do we live in a society that gives us a second chance at life? I feel that everybody in Japan harbors an unspoken anxiety and suffocation by an unforgiving world. --You conducted exhaustive research and took four years to write the screenplay. It’s my first time making a film based on a story written by another author and also about a real person, which is a huge responsibility as the director. -
The Golden Era of Japanesa Cinema
THE GOLDEN ERA OF JAPANESE CINEMA The 1950s are widely considered the Golden Age of Japanese cinema. Three Japanese films from this decade made the Sight & Sound's 2002 Critics and Directors Poll for the best films of all time. Rashomon Seven Samurai Tokyo Story The period after the American Occupation led to a rise in diversity in movie distribution thanks to the increased output and popularity of the film studios: Toho Daiei Shochiku Nikkatsu Toei This period gave rise to the four great directors of Japanese cinema: Masaki Kobayashi Akira Kurosawa Kenji Mizoguchi Yasujirō Ozu. Two types of dramas Gendai–Geki : Contemporary Drama/Social Issues Jidai-Geki: Costume or Period Drama (Samurai Films) TIME LINE: 1946 - The Civil Censorship Department was created within the Civil Intelligence Section of the Supreme Commander for the Allied Powers. It exercised considerable influence over the operation and administration of the American Occupation of Japan after World War II. Bans 31 Separate topics from films – including imperial propaganda (i.e. Samurai Films) 1948 – US vs Paramount. The beginning the end for the studio system. 1949 November- The Civil Censorship Department becomes less heavy handed. 1950 - The decade started with Akira Kurosawa's Rashomon (1950), which won the Golden Lion at the Venice Film Festival in 1951 and the Academy Award for Best Foreign Language Film in 1952, and marked the entrance of Japanese cinema onto the world stage. It was also the breakout role for legendary star Toshiro Mifune. 1950 - The Blue Ribbon Awards were established in 1950. The first winner for Best Film was Until We Meet Again by Tadashi Imai. -
JAPAN CUTS: Festival of New Japanese Film Unveils Full Slate Of
Media Contacts: Genevieve Jacobson, 312-919-0005 [email protected] Shannon Jowett, 212-715-1205 [email protected] JAPAN CUTS: Festival of New Japanese Film Unveils Full Slate of NY Premieres Expansive 11th Edition Surges with Over 30 Boundary Breaking Films Across Diverse Programming Sections, Featuring Awardee Joe Odagiri with Numerous Special Guests Plus Wildly Themed Parties July 13-23, 2017, at Japan Society "Pound-for-pound one of the most consistently rewarding film festivals on the planet, JAPAN CUTS grows more vital with every passing year… One of the city’s major annual events." – IndieWire “Celebrated for its high standards and its eclectic slate." – Film Journal International New York, NY – JAPAN CUTS, North America’s premiere showcase for new Japanese cinema, returns for its 11th installment July 13-23 to serve up a slice of the best and boldest films from Japan never before seen in NYC with special guest filmmakers and stars, post-screening Q&As, parties and more. Boasting a thrilling slate of epic blockbusters, shoestring independents, radical documentaries, mind-bending avant-garde, newly-restored classics and breathtaking animation, Japan Society’s renowned summer film festival promises a bounty of cinematic discoveries for film fans and pop culture enthusiasts alike. For its eleventh edition, JAPAN CUTS 2017 presents its most far-reaching and iconoclastic lineup to date, including 28 feature films (3 International Premieres, 10 North American Premieres, 6 U.S. Premieres, 6 East Coast Premieres, 3 New York Premieres) and 6 short films, brought to life by rare, in-person access to creators of the work through Q&As and signature parties that allow connections beyond the screen. -
Japanese Transnational Cinema • Marcos P
Japanese Transnational Cinema Transnational Japanese • Marcos P. Centeno-Martín and P. • Marcos Morita Norimasa Japanese Transnational Cinema Edited by Marcos P. Centeno-Martín and Norimasa Morita Printed Edition of the Special Issue Published in Arts www.mdpi.com/journal/arts Japanese Transnational Cinema Japanese Transnational Cinema Special Issue Editors Marcos P. Centeno-Mart´ın Norimasa Morita MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Special Issue Editors Marcos P. Centeno-Mart´ın Norimasa Morita University of London Waseda University UK Japan Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Arts (ISSN 2076-0752) (available at: https://www.mdpi.com/journal/arts/special issues/Japanese Transnational Cinema). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03936-156-4 (Hbk) ISBN 978-3-03936-157-1 (PDF) Cover image courtesy of Nikkatsu and Almudena Garc´ıa Navarro. c 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. -
Japan Society and the Agency for Cultural Affairs Announce Inaugural ACA Cinema Project Online Film Series 21St CENTURY JAPAN: F
FOR IMMEDIATE RELEASE Japan Society and the Agency for Cultural Affairs Announce Inaugural ACA Cinema Project Online Film Series 21st CENTURY JAPAN: FILMS FROM 2001-2020 February 5-25, 2021 A selection of 30 films celebrating the past 20 years of Japanese cinema streams online throughout the U.S. on Japan Society’s virtual cinema, including films by Hirokazu Kore-eda, Naomi Kawase and Takashi Miike Plus, online U.S. premieres of Sion Sono’s Red Post on Escher Street and Yukiko Mishima’s Shape of Red, a special focus on Kiyoshi Kurosawa and a selection of breakout films by up-and-coming filmmakers Red Post on Escher Street © 2021 “Red Post on Escher Street” Film Partners New York, NY (January 7, 2021) – Japan Society and the Agency for Cultural Affairs, Government of Japan (ACA), in collaboration with the Visual Industry Promotion Organization (VIPO), announce the inaugural ACA Cinema Project online film series 21st Century Japan: Films from 2001-2020, streaming nationwide on Japan Society’s Virtual Cinema from February 5-25, 2021. As Japan’s film industry enters its third decade in the new millennium, this 30-film online series takes a look back at the last 20 years of Japanese cinema to celebrate some of the most remarkable narrative fiction films and filmmakers that define the era. Covering a wide range of production styles and genres—from small budget independent debuts to festival favorites and award-winning major studio releases—this diverse slate of feature and short films offers a guided tour of modern Japanese cinema, including special spotlights dedicated to the work of Kiyoshi Kurosawa and a selection of breakout films by up-and-coming filmmakers. -
The Adaptation of the Borrowers in the Japanese Animation Arrietty
林佳靈 從小說到動畫電影：《借物少女艾莉堤》之改編研究 1 From Novel to Film: The Adaptation of The Borrowers in the Japanese Animation Arrietty Chia-Ling Lin University of Taipei, Taipei 100, Taiwan Abstract The purpose of this study is to investigate the differences between the original version and an adapted version of The Borrowers. After this story was adapted from novel to animation, because the context of the movie was in Japan instead of Britain and the medium was an animation film rather than a novel, some elements of the story were changed. This study will explore these changes in three sections. The first section is the discussion of Mary Norton, Miyazaki Hayao, and research about adaptation. The second section is the discussion of the cultural differences demonstrated in the novel and the animation. The last section is the discussion of the structural differences between the novel and the animation. All the changes caused by cultural and medium differences make the story of those little borrowers be presented in a very different way, which not only creates a new life for Mary Norton’s novel in another medium but also reaches a new audience in Asia. Keywords: The Borrowers, Mary Norton, Miyazaki Hayao, adaptation 2 國教新知 第65 卷第 2 期 從小說到動畫電影：《借物少女艾莉堤》之改編研究 林 佳 靈 臺灣 臺北市 100 臺北市立大學 摘 要 本研究旨在針對瑪麗•諾頓（Kathleen Mary Norton）的經典小說著作 The Borrowers，與宮崎駿改編的動畫作品《借りぐらしのアリエッティ》，進行比 較分析。在改編的過程中，有兩大因素導致原著作品及改編作品呈現相當不同 的手法。其一為作者的文化背景不同；其二為敘事結構不同。藉由改編過程， 因為文化背景及敘事結構的不同，宮崎駿用自己的方式，重新詮釋出一個更貼 近東方生活的借物者故事。 關鍵詞：借物少女、宮崎駿、瑪麗•諾頓、小說改編 * 通訊作者：林佳靈 通訊地址：241 新北市三重區新北大道一段 167 號 8 樓 電子郵件：[email protected] DOI:10.6701/TEEJ.201806_65(2).0001 林佳靈 從小說到動畫電影：《借物少女艾莉堤》之改編研究 3 1 Representation of The Borrowers The purpose of this study is to examine how The Borrowers, written by Mary Norton in 1952, was represented in Miyazaki Hayao’s animation film. -
ICAS 12 Film Festival
ICAS 12 Film Festival 21 – 28 August 2021 Curated by Mario Lopez Associate Professor at ICAS 12 Film Festival Asia is one of the world’s richest areas for diversity and has undergone intense and rapid transformation over in the first two decades of the 21st century. How these changes are captured by filmmakers help stimulate dialogues on issues that people hold close to them in everyday life. For ICAS 12 the Visual Documentary Project has teamed up for a second time to offer a selection of works from across Asia and other parts of the world. We offer a diverse selection of contemporary documentaries and films that touch upon issues of justice, love, popular culture, memory across Asia and further afield. We also provide a wide range of works that show how engaged Asia is in global society. As this year’s event is brought to you from Kyoto Japan, the event has a Japanese theme. We bring together works by Japanese filmmakers working in Japan and across Asia to highlight the different approaches to issues in the region. This time round we showcase how not only filmmakers and academics, but also students use visual mediums to bring out issues of social relevance. We provide a strong selection of short animated films courtesy of the Graduate School of Film and New Media, Department of Animation, Tokyo University of Arts. Finally, while putting this program together, a young aspiring Burmese filmmaker, Aye Chan (The Father I Knew 2020) who gave us permission to screen her work passed away in an accident. -
The Evolution of the Japanese Period Film
The Evolution of the Japanese Period Film Jidaigeki from 1997 to 2012 Vibeke Oseth Gustavsen Master’s thesis (60 credits) Asian and African Studies – Japanese Department of Culture Studies and Oriental Languages University of Oslo Spring 2013 The Evolution of the Japanese Period Film Jidaigeki from 1997 to 2012 Vibeke Oseth Gustavsen Master’s thesis (60 credits) Asian and African Studies – Japanese Department of Culture Studies and Oriental Languages University of Oslo Spring 2013 Copyright Vibeke Oseth Gustavsen 2013 The Evolution of the Japanese Period Film: Jidaigeki from 1997 to 2012 Vibeke Oseth Gustavsen http://www.duo.uio.no Abstract The purpose of this master thesis is to investigate the Japanese period film, also known by its Japanese term jidaigeki, and to find out how it has evolved in terms of narrative patterns, style conventions and genre formulas in the last fifteen years. While English-language research in the field of Japanese film studies has tended to concentrate on earlier period film productions, particularly by world-known masters such as Kurosawa Akira, Inagaki Hiroshi, Kobayashi Masaki, Gosha Hideo and others, there is still a need to examine newer films in this genre. The focus of this thesis is therefore on a selection of nine recent jidaigeki released between 1997 and 2011; films that ranked among the top ten movies of the year by Kinema Junpō and/or had a domestic box office gross of JPY 15 billion. This was done to ensure that the films analyzed had either been of critical interest or had attained a certain success in movie theaters in Japan. -
Research Material Cinema Japan 2020 a Quick History of Japanese Cinema
RESEARCH MATERIAL CINEMA JAPAN 2020 A QUICK HISTORY OF JAPANESE CINEMA 1890’s- 1920’s: the silent era Matsunosuke Onoe Cinema arrived in Japan at the end of 19th century, but the Japanese had already a rich tradition of moving pictures with pre-cinematic devices such as Utushi-e, a type of magic lantern that become popular in Japan in the 19th century. Early 20th century, most of Japanese cinema theatres employed Benshi and live musicians. The Benshi are Japanese storytellers performing live narration for silent films. The 1923 earthquake, the bombing of Tokyo during WWII and Japan’s natural humidity partially destroyed the film stock of this period. There are no many surviving films. Films • Geisha No Teodori, 1899: first film produced in Japan. Only some fragments of the film remain intact. Important names Matsunosuke Onoe, a Kabuki actor who appeared in over 1000 films between 1909 and 1926, he’s considered the first star of Japanese cinema. Shozo Makino, director and film pioneer, he popularized the Jidaigeki (period pieces) @FilmHubMidlands [email protected] The 1930s Heihachirō Ōkawa and Sachiko Chiba in Wife! Be Like A Rose, directed by Mikio Naruse, 1935 Talkie films arrived in Japan in the early 30s, but silent films were still being produced, until the Benshi’s strike (1932). In the early 30’s, Kenji Mizoguchi and a group of progressive filmmakers produced left-leaning “social tendency films”. But Japan’s increasingly militarist government instituted a crackdown on the political content of films, which were expected to conform a national policy of pro-family and pro- military values.