Karate Fights SUBMIT a PHOTO for the COVER of for Tradition As Olympic Sport Goes Global Pages 8-10
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Title Call # Category
Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine -
Space In-Between: Masumura Yasuzo, Japanese New Wave, And
SPACE IN-BETWEEN: MASUMURA YASUZO, JAPANESE NEW WAVE, AND MASS CULTURE CINEMA by PATRICK ALAN TERRY A THESIS Presented to the Department of East Asian Languages and Literatures and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2011 THESIS APPROVAL PAGE Student: Patrick Alan Terry Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of East Asian Languages and Literatures by: Prof. Steven Brown Chair Dr. Daisuke Miyao Advisor and Richard Linton Vice President for Research and Graduate Studies/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2011 ii © 2011 Patrick Alan Terry iii THESIS ABSTRACT Patrick Alan Terry Master of Arts Department of East Asian Languages and Literatures June 2011 Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema Approved: ________________________________________________ Dr. Daisuke Miyao During the early stage of Japan’s High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave’s central position through the career of Daiei Studios’ director, Masumura Yasuzo. -
Alternative Titles Index
VHD Index - 02 9/29/04 4:43 PM Page 715 Alternative Titles Index While it's true that we couldn't include every Asian cult flick in this slim little vol- ume—heck, there's dozens being dug out of vaults and slapped onto video as you read this—the one you're looking for just might be in here under a title you didn't know about. Most of these films have been released under more than one title, and while we've done our best to use the one that's most likely to be familiar, that doesn't guarantee you aren't trying to find Crippled Avengers and don't know we've got it as The Return of the 5 Deadly Venoms. And so, we've gathered as many alternative titles as we can find, including their original language title(s), and arranged them in alphabetical order in this index to help you out. Remember, English language articles ("a", "an", "the") are ignored in the sort, but foreign articles are NOT ignored. Hey, my Japanese is a little rusty, and some languages just don't have articles. A Fei Zheng Chuan Aau Chin Adventure of Gargan- Ai Shang Wo Ba An Zhan See Days of Being Wild See Running out of tuas See Gimme Gimme See Running out of (1990) Time (1999) See War of the Gargan- (2001) Time (1999) tuas (1966) A Foo Aau Chin 2 Ai Yu Cheng An Zhan 2 See A Fighter’s Blues See Running out of Adventure of Shaolin See A War Named See Running out of (2000) Time 2 (2001) See Five Elements of Desire (2000) Time 2 (2001) Kung Fu (1978) A Gai Waak Ang Kwong Ang Aau Dut Air Battle of the Big See Project A (1983) Kwong Ying Ji Dut See The Longest Nite The Adventures of Cha- Monsters: Gamera vs. -
Der Japanische Monsterfilm (Daikaijū -, Kaijū -, Daimajin - Und Kaijin Eiga) – Filmographie Und Bibliographie Von Ludger Kaczmarek & Hans J
Repositorium für die Medienwissenschaft Ludger Kaczmarek; Hans Jürgen Wulff Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga). Filmographie und Bibliographie 2018 https://doi.org/10.25969/mediarep/12780 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Kaczmarek, Ludger; Wulff, Hans Jürgen: Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga). Filmographie und Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2018 (Medienwissenschaft: Berichte und Papiere 147). DOI: https://doi.org/10.25969/mediarep/12780. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0147_18.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 147, 2018: Japanischer Monsterfilm Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek u. Hans J. Wulf. ISSN 1613-7477. URL: htp://berichte.derwulf.de/0147_18.pdf. Letzte Änderung: 25.09.2018. Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga) – Filmographie und Bibliographie von Ludger Kaczmarek & Hans J. Wulf Inhalt: 1. Vom Horror zum Trash – der japanische Monsterflm / Oliver Miller [1] 1.1 Die Wurzeln des Monsterflms [1] 1.2 Der Ursprung des japanischen Monsterflms: oodzilla [2] 1.3 Die Monster sind los – auf dem Weg in die Kommerzialisierung [3] 1.4 Der japanische Monsterflm als eigenstänndiges oenre [4] 1.5 Die Rückkehr oodzillas und ein Blick in die ZukunF [4] 1.6 Fazit [5] Anmerkungen [5] 2. -
Char's Counterattack © 1998, 2002 Sotsu Agency • Sunrise
TT HH EE AA NN II MM EE && MM AA NN GG AA MM AA GG AA ZZ II NN EE $$ 44 .. 99 55 UU SS // CC AA NN PROTOCULTURE PROTOCULTUREAA DD DD II CC TT SS MAGAZINE www.protoculture-mag.com 7373 •• cosmocosmo wwarriorarrior zerozero •• ccowboyowboy bebopbebop thethe moviemovie •• jojojosjos bizarrebizarre Sample file adventureadventure •• natsunatsu hehe nono totobirabira •• projectproject armsarms •• sakurasakura warswars •• scryedscryed •• slayersslayers premiumpremium •• NEWSNEWS && REVIEWSREVIEWS CHAR’S COUNTERATTACK CHAR’S COUNTERATTACK C o v e r 2 o f 2 Sample file CONTENTS 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ PROTOCULTURE ✾ PRESENTATION ........................................................................................................... 4 STAFF NEWS ANIME & MANGA NEWS: Japan / North America ............................................................... 5, 10 Claude J. Pelletier [CJP] — Publisher / Manager ANIME RELEASES (VHS / DVD) & PRODUCTS (Live-Action, Soundtracks, etc.) .............................. 6 Miyako Matsuda [MM] — Editor / Translator MANGA RELEASES / MANGA SELECTION / MANGA NEWS .......................................................... 7 Martin Ouellette [MO] — Editor JAPANESE DVD (R2) RELEASES .............................................................................................. 9 NEW RELEASES ..................................................................................................................... 11 Contributing Editors Aaron K. Dawe, Asaka Dawe, Keith Dawe Kevin Lillard, Gerry -
G-Fest Site Map: Upper Level Lower Level
BALLROOM V: BALLROOM IV and III: BALLROOM II: BALLROOM I: TOKUSATSU ROOM DEALERS ROOM LECTURE HALL II LECTURE HALL I CONCOURSE B: CONCOURSE A: AUTOGRAPHS AND G-FANS ESCAL- REGISTRATION HELPING G-FANS ATOR CHICAGO FIRE OVEN FRONT RESTAURANT DESK LOBBY ON THE STAIRS FLY FOOD CADDYSHACK SERVICE RESTAURANT IDEATION TO VISIBILITY BAR BALMORAL LOUNGE: HOTEL BALLROOM: GAMING ROOMS ARCADE & POOL EXIT TO PARKING LOT VIDEOGAMING G-FEST SITE MAP: UPPER LEVEL LOWER LEVEL KENNEDY: HEATHROW GATWICK HANEDA: SYDNEY DA VINCI: LECTURE HALL III DESTROY ALL JOHN G-FEST MINYA’S PLACE MONSTERS 50TH BELLOTTI 25TH KIDS ACTIVITIES ANNIVERSARY ART ANNIV. DISPLAY DISPLAY DISPLAY LOVE A & B: ORLY: DULLES: LA GUARDIA: LOGAN: ARTIST ALLEY MONSTER KEIZO MURASE ART DISPLAY STOR- MASSAGE DISPLAY AGE M O R E ESCAL- A ATOR MIDWAY: R G-FEST FILM FESTIVAL T ROOM KITTY HAWK: I MODEL INSTRUCTION OFFICES S AND DISPLAY T A L L STAIRS E Y G-FEST XXV PROGRAM, JULY 13 - 15, 2018 7 FRIDAY, JULY 13, 2018 SESSIONS SESSIONS SESSIONS GAMING FILM MODEL ARTISTS MECHA-G TOKUSATSU DEALERS OTHER FESTIVAL THREAD ALLEY ARCADE SESSIONS ROOM BALLROOM 1 BALLROOM 2 KENNEDY IDEATION MIDWAY KITTY HAWK LOVE A&B BALMORAL BALLROOM 5 BLRM 3 & 4 9:00 AFTER THE BOOM 50th REGISTRA- Anniversary TION (all day) OPENS 10:00 GENERAL MINYA’S Display KAIJU FILMS, GAMING PLACE Room open DOJO STYLE OPENS AT for drop-off, Alaena Gavins then viewing 10:00 AM in 11:00 HEATHROW & G-FEST KAIJU DESTROY COSTUMING GATWICK. ORIENTATION ASSAULT ALL PANEL Coloring and SESSION: TOURNEY DRAGONS Sean crafts for young J.D. -
The Transnational Asian Studio System: Cinema, Nation-State, and Globalization In
The Transnational Asian Studio System: Cinema, Nation-State, and Globalization in Cold War Asia by Sangjoon Lee A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Cinema Studies New York University May, 2011 _______________________ Zhang Zhen UMI Number: 3464660 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3464660 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 ⓒ Sangjoon Lee All Right Reserved, 2011 DEDICATION This dissertation is dedicated to my father, Lee Eui-choon, and my mother, Kim Sung-ki, for their love and support. iii ACKNOWLEDGEMENTS This dissertation would not have been possible without the generous support and encouragement of my committee members and fellow colleagues at NYU. My deepest debts are to my dissertation advisor; Professor Zhang Zhen has provided me through intellectual inspirations and guidance, a debt that can never be repaid. Professor Zhang is the best advisor anyone could ask for and her influence on me and this project cannot be measured. This dissertation owes the most to her. I have been extremely fortunate to have the support of another distinguished film scholar, Professor Yoshimoto Mitsuhiro, who has influenced my graduate studies since the first seminar I took at NYU. -
Of Japanese Films by the American Occupation (Cid
JAPANJAPANSOCIETY SOCIETY ofImaGEARTSof IMAGE ARTS and SCIENCES The Banning ofJapanese Peried Filrns 1es THE BANNING OF JAPANESE PERIOD FILMS BY THE AMERICAN OCCUPATION Kyoko HIRANO introduction cinema was From September 1945 through April 1952, Japanese under the cornplete control of the American Occupation. The Occupa- tion's policies with respect to film were carried out by .means of propa- ganda and censorship, based on plans made while America and Japan were still at war, Propaganda was the responsibility of CIE (Civil Infor- mation and Education) Sectien,i whose rnain goal was to teach Ameri- can values to the eccupied nation, through the Japanese media, by en- couraging some values and goals and discouraging others. The second task was given to CCD (Civil Censorship Detachment), whose purpose was to prohibit any informatien conveyed by the media which rnight be unsuit- able or dangerous to the Occupation. whether or not Although CCD technically had the final authority over a film, either Japanese or foreign, could be shown to the Japa'nese au- dience, the Motion Picture Unit of the Motion Picture and Theatrica] Branch (MPTB) of CIEwas given the role of prior-production and post- production censorship. This unit demanded that each film company subrnit filrn projects and scripts, in both Japanese and Engli'sh, for its "`suggest" consideration. Its role was to changes at the stages of synopsis, "any- screenplay, and completed film, if it found that a film contained thing detrimental to the obiectives of the Occupation." After CIE's censorship, the Press, Pictorial and Broadcasting (PPB) Division Df CCD conducted its ewn, independent post-pro duction censorship. -
Confucian Philosophy in the Films of Akira Kurosawa Through the Documentary Film Medium
Wu, Li-Hsueh Truth and Beauty: Confucian Philosophy in the Films of Akira Kurosawa Through the Documentary Film Medium Doctor of Design 2008 Swinburne Abstract This doctoral research consists of two 90 minute DVD documentaries and a complementary text about the Japanese film director, Akira Kurosawa, a major figure in 20th century cinema. It focuses on how the Confucian cultural heritage has informed many aspects of his approach to filmmaking, especially his manifestation of philosophical and aesthetic concepts. To bridge the gap in the existing critiques of Kurosawa’s films, the research incorporates critical analysis of interviews with twelve filmmakers and scholars in philosophy, history, arts, drama and film. The interviews discuss the aesthetic elements from traditional arts and theatre, and address a failure in the literature to draw from the deep meaning of the Confucian cultural heritage. The first documentary, An Exploration of Truth in the Films of Akira Kurosawa, has three sections: The Way of Self- Cultivation, The Way of Cultivating Tao and The Way of Cultivating Buddhism. It explores how the films of Kurosawa manifested the Confucian philosophy via inner self-cultivation, which displayed his humanist values. It also examines the ‘outer enlightenment pattern’ in Kurosawa’s films which effects profound dramatic tension. The interrelationship between Confucianism, Shinto and Buddhism in different periods of Kurosawa’s films is explored, focusing on issues of historical background, cultural heritage and philosophy and film narrative elements. The second documentary, The Origin and Renovation of Traditional Arts and I Theatre in the Films of Akira Kurosawa, has three sections: Structure and Mise-En-Scene from Noh and Kabuki, Representation and Symbolism from Noh Masks and Chinese Painting and Color and Mise-En-Scene from The ‘Five Elements’ Theory and Japanese Prints. -
Ultra-G-Fest! Official Program Book
OFFICIAL PROGRAM BOOK SEE: AKIRA TAKARADA LINDA MILLER BIN FURUYA HIROKO SAKURAI HIROSHI SAGAE YOSHIKAZU ISHII SOJIRO UCHINO AUGUST RAGONE CARL CRAIG ROBERT SCOTT FIELD ULTRA-G-FEST! G-FEST XXIII PROGRAM, JULY 15 - 17, 2016 G-FEST XXIII PROGRAM, JULY 15 - 17, 2016 TABLE OF WELCOME! As I complete the assembling of CONTENTS this program booklet, the largest yet in G- FEST history, I am amazed at the depth and variety of all that our annual gathering of Godzilla fans offers. For starters, it seems to Welcome...................................................................3 me that the programming schedule is so packed with interesting sessions that it will be difficult to choose which ones to attend Special guests and presenters.........................4, 5 and which ones to miss. Like the program book, the list of people participating in the convention in an Map of G-FEST rooms..........................................6 “official” capacity is the largest ever. This tells me that more people are seeing G-FEST as not just a place to The Dealer Room...................................................7 have fun and take in what’s on offer, but also to offer something themselves. Becoming a participant in the many activities that take place over the weekend is an excellent way to make the experience Daily schedule of events................................8 - 10 even better and more memorable. And of course, there are many, many things to do. G-FEST is distinguished from most other shows in that, while shopping for Descriptions of informational sessions.......11- 13 collectibles and obtaining autographs are important for many attendees, they are balanced by several other equally strong facets. -
THE PAST of JAPANESE SCIENCE FICTION and FANTASY MOVIES L /'Faron (]Erou;
Yale University From the SelectedWorks of Aaron Gerow 2016 The asP t of Japanese Science Fiction and Fantasy Movies Aaron Gerow Available at: https://works.bepress.com/aarongerow/20/ Beyond Godzilla Alternative Futures and Fantasies in Japanese Cinema Editor Mark Schilling Illustrations Francesca Ghermandi THE PAST OF JAPANESE SCIENCE FICTION AND FANTASY MOVIES l_/'faron (]erou; Godzilla appears in the 1954 film as a surprise, as a horror seemingly tied to the newest of scientific inventions: nuclear weaponry. But he does have a history, and not just the millions of years spoken of in the film. (]odzilla may be the first Japanese special effects (tokusatsu) science fiction or fantasy film many can name, but the genre has a past as well, a long history of monsters and magic ninja that predate and prepare the ground for Ishiro Honda's film. That past is a bit like Godzilla itself: powerful but also somewhat cheesy, present but only rarely emerging into public view, significant but seldom allowed to enter the realm of great art. That history can go back to the first days of cinema in Japan, when film attracted crowds not just for its views of foreign lands and people, but also for the technology itself Sold as a new and foreign marvel, it was presented alongside electricity and x-rays as a scientific wonder - as science fiction become real - but often in a manner that resembled the hyperbole of or misemono (sideshow entertainment). This mix of the serious and the sensational set a pattern for subsequent Japanese science fiction or fantasy films, which would continue to tread the boundary between cinema and showmanship, high and low culture. -
Unrolling a Film.Pdf
UNROLLING A FILM GENJI MONOGATARI BY YOSHMURA KÔSABURÔ AND THE PICTORIAL TRADITION Arbeit zur Erlangung des Grades eines Magister Artrium An der Ruprecht-Karls-Universität Heidelberg Philosophisch-Historische Fakultät Kunsthistorisches Institut, Abteilung Ostasien Vorgelegt von Nataša von Kopp bei Prof. Dr. Lothar Ledderose 2000 Erstkorrektor: Prof. Dr. Lothar Ledderose, Ruprecht-Karls-Universität Heidelberg, Kunsthistorisches Institut Zweitkorrektor: Prof. Hans Beller, Hochschule für Gestaltung Karlsruhe, Filmseminar Table of contents 1. INTRODUCTION ..................................................................3 2. JIDAIGEKI............................................................................7 2. 1. Etymological difficulties......................................................................................................... 7 2. 2. Depiction of former times in jidaigeki................................................................................... 8 2. 3. Satô Tadao´s chronology...................................................................................................... 11 2. 4. Political and economic background in the postwar film industry .................................... 18 2 . 5. Daiei .................................................................................................................................. 2222 3. YOSHIMURA KÔSABURÔ ................................................24 3. 1. Biography .............................................................................................................................