Ⅱ公衆への観覧 1 上映会等 Screening Programs and Exhibitions
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Japanese Women's Science Fiction: Posthuman Bodies and the Representation of Gender Kazue Harada Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2015 Japanese Women's Science Fiction: Posthuman Bodies and the Representation of Gender Kazue Harada Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the East Asian Languages and Societies Commons Recommended Citation Harada, Kazue, "Japanese Women's Science Fiction: Posthuman Bodies and the Representation of Gender" (2015). Arts & Sciences Electronic Theses and Dissertations. 442. https://openscholarship.wustl.edu/art_sci_etds/442 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of East Asian Languages & Cultures Dissertation Examination Committee: Rebecca Copeland, Chair Nancy Berg Ji-Eun Lee Diane Wei Lewis Marvin Marcus Laura Miller Jamie Newhard Japanese Women’s Science Fiction: Posthuman Bodies and the Representation of Gender by Kazue Harada A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 St. Louis, Missouri © 2015, Kazue Harada -
Cine Japonés: Tradición Y Condicionantes Creativos Actuales
Historia y Comunicación Social ISSN: 1137-0734 Vol. 7 (2002) 253-266 Cine japonés: Tradición y condicionantes creativos actuales. Una revisión histórica ANA MARÍA SEDEÑO VALDELLÓS RESUMEN El artículo trata de resumir las fases fundamentales del cine nipón, desde su naci- miento documental a finales del siglo XIX hasta los inicios del nuevo milenio. Se des- criben y ordenan las etapas básicas de su desarrollo, se buscan las causas históricas, sociales y culturales que explican la especial configuración de una filmografía incom- parable, exótica y, a la vez, tan cercana, una de los más prestigiosas del panorama ci- nematográfico mundial. ABSTRACT This article tries to sum up the basic phases of japanese cinematography, from its origin at the end of the niniteen century to the beginning of this millenium. The essen- tial stages are described and put in order, the historical, social and cultural reasons are searched. They all expound the special shape of this exotic cinema, one of the worthier in the world scene. 1. INTRODUCCIÓN En el presente artículo van a repasarse algunos de los acontecimientos his- tóricos que han condicionado el cine del país del sol naciente: elementos de la tradición más ancestral, imperialismos económicos y burocráticos... Todo esto ha marcado una de las industrias más prolíficas del mundo, absolutamente misteriosa para la mayoría de los habitantes del planeta y de la que los críticos y expertos cinematográficos no ha visto ni la mitad de la producción existente, mientras la otra parte es inaccesible (duerme en cinematecas remotas) o ha de- saparecido. Una cinematografía compleja llena de matices estilísticos y con una extraordinaria variedad de géneros, subgéneros y temas que han evolucionado rápidamente en el último siglo bajo dos estigmas históricos: el gran peso de la 253 Ana M.a Sedeño Valdellós Cine japonés: Tradición y condicionantes creativos actuales tradición, folklore y hábitos sociales nipones y la necesidad de un vínculo co- mercial con la industria occidental, sobre todo desde la ocupación norteameri- cana de la posguerra. -
Main Screen: 1100 Seats (To Run Only 35Mm Film Prints)
Location: Chandan Cinema, Juhu Main Screen: 1100 Seats (to run only 35mm film prints) Show Time 1st Show 2nd Show 3rd Show 4th Show 5th Show Date/Day 10.00 am 12.30 Noon 3.30 pm 5.30 pm 8.00 pm 21-10-.2010 No shows No shows No shows At: 7.00 p.m. Opening Function followed by the Inaugural Film Thursday THE SOCIAL NETWORK Dir.: David Fincher (USA / 2010 /35mm / Col. / 120’) 22-10-2010 10:30 am Inauguration of To start show by 1:30 p.m. POETRY ON THE PATH (NA PUTU) UNITED RED ARMY Friday Japanese Cinema followed by SUBMARINO Dir.: Lee Chang-dong Dir.: Jasmila Zbanic (Bosnia and Dir.: Kôji Wakamatsu ABOUT HER BROTHER (OTÔTO) Dir.: Thomas Vinterberg (South Korea / 2010 / 35mm / Col. / 139’) Herzegovina-Austria-Germany- (Japan / 2007 / 35mm / Col. / 190') Dir.: Yôji Yamada (Denmark-Sweden / 2010 / 35mm / Col. / Croatia / 2010 / 100’) (Japan / 2010 / 35mm / 35mm / 105') 126’) WC WC WC CJC CJC 23-10-2010 HOLD ME TIGHT (HOLD OM UNDERTOW (CONTRACORRIENTE) HONEY (BAL) R SANDCASTLE Saturday MIG) Dir.: Javier Fuentes-León Dir.: Semih Kaplanoglu Dir.: Michael Noer & Tobias Lindholm Dir.: Boo Junfeng Dir.: Kaspar Munk (Peru-Colombia/ 2009 / 35mm / Col. / (Turkey-Germany / 2010 / 35mm / Col. / 103') (Denmark / 2010 / 35mm / Col. / 90’) (Singapore / 2010 / 35mm / Col. / 92') (Denmark / 2010 / 35mm / Col. / 80') 100’) ATC WC WC IC-Presentation IC-Presentation 24-10-2010 ON TOUR (TOURNÉE) BUNRAKU MUNDANE HISTORY OUTRAGE CATERPILLAR Sunday Dir.: Mathieu Amalric Dir.: Guy Moshe Dir.: Anocha Suwichakornpong Dir.: Takeshi Kitano Dir.: Kôji Wakamatsu (France / 2010 / 35mm / Col. -
New Product Special Full-Sized Tape VHS Camcorder, Super Beta
Sword and Sandal Sagas The #1 Magazine of Home Vu New Product Special Full-sized Tape VHS Camcorder, Super Beta Heard Anv Grind MnvieQ? BERGER-BRAITHWAITE VIDEOTESTS Sansui VHS Hi-Fi VCR Canon Portable 8mm VCR Canon 8mm Color Camera Bib VHS Video Alarm £ ^eX Vietnam V>1 ,‘--^og^onf6«ed ca^*e^ iSi*'"*'*'" i MGM/UA Home Video, 1350 Ave. of the Americas, New York, NY 10019. ;tna\\-^ettjv . Can they I Available ‘n racked iollo^-np lheW"j“’‘^,Svd«‘ron^ D»e?Xe‘»yirien<i'*tt’e i raiders fi^rroitK.FiM«'lessiv into* t$s*#** sssi^SS*- %£03(2£$2* S&tS* April 1985 Contents Volume IX, Number 1 Features Program Guide Columns The Greatest Stories Ever Told News & Views Channel One Our critic makes a selective By Ken Winslow.43 The Digital Class.6 survey of ‘the epic, ’ the film Top 10 Fast Forward genre in which too much is enough. Tape & Disc Sales & Rentals.45 Dr. Jekyll & Mr. Sony.8 By Tom Soter.66 Reviews Feedback What's New Film & Video Clips/Quick Takes.46 Who’s the Sucker?.10 We’ll tell you what’s new. Super New Products Beta! Korean VCRs! Camcorders! Directory NEC’s Quadruplets: 2 Beta, 2 VHS.. 14 And accessories are multiplying What’s New on Tape & Disc.57 like Rabbits (which is the name Fine Tuning of one of ’em). Yes, we have seen The Proper Dub the future of video—or at least Videotests By Roderick Woodcock.26 this year’s version of it. Videogram Sansui SV-R9900HF VHS Hi-Fi VCR By Richard Jaccoma.70 Flying Blind? Canon VR-E10 Portable 8mm VCR By William Wolfe.30 Found Sound Canon VC-200A 8mm Color Camera Those who take the trouble can Bib VHS Video Alarm TV Den find free multichannel riches By Berger-Braithwaite Labs.92 Resolution Resolved buried in movie soundtracks. -
Masaki Kobayashi: KWAIDAN (1965, 183M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
March 10, 2020 (XL:10) Masaki Kobayashi: KWAIDAN (1965, 183m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Directed by Masaki Kobayashi Writing Credits Yôko Mizuki (screenplay), Lafcadio Hearn (novel) (as Yakumo Koizumi) Produced by Takeshi Aikawa, Shigeru Wakatsuki Music by Tôru Takemitsu Cinematography by Yoshio Miyajima Film Editing by Hisashi Sagara The film won the Jury Special Prize and was nominated for the Palme d’Or at the 1965 Cannes Film Festival and was nominated for an Oscar for Best Foreign Language Film at the 1966 Academy Awards. CAST for the Palme d'Or at Cannes, and Samurai Rebellion “The Black Hair” (1967), and Kwaidan (1964), for which he, once again, Michiyo Aratama…First wife both won the Jury Special Prize and was nominated for the Misako Watanabe…Second Wife Palme d’Or. He was also nominated for the Palm d’Or for Rentarō Mikuni…Husband Nihon no seishun (1968). He also directed: Youth of the Son (1952), Sincerity (1953), Three Loves* (1954), “The Woman of the Snow” Somewhere Under the Broad Sky (1954), Beautiful Days Tatsuya Nakadai…Minokichi (1955), Fountainhead (1956), The Thick-Walled Room Jun Hamamura…Minokichi’s friend (1956), I Will Buy You (1956), Black River (1957), The *Keiko Kishi…the Yuki-Onna Inheritance (1962), Inn of Evil (1971), The Fossil (1974), Moeru aki (1979), Tokyo Trial* (Documentary) (1983), “Hoichi” and Shokutaku no nai ie* (1985). -
Kihachi Okamoto Nace En 1924 En Yonago, Totori
Kihachi Okamoto Nace en 1924 en Yonago, Totori. Se traslada a Tokio en 1941 para ingresar en la Universidad Meiji. Allí se convierte en un ávido cinéfago, aficionado a las películas estadounidenses de acción y a las comedias francesas. Se gradúa en 1943 y entra en la Toho como ayudante de producción. Poco después es reclutado y llevado a la escuela del ejército para oficiales en la reserva, desde donde vio el final de la guerra. En 1945 vuelve a Tokio y trabaja como ayudante de dirección para Taniguchi, Makino o Naruse. En 1957 la Toho anuncia un proceso de selección para ascender a los ayudantes de dirección que presentaran el mejor guión. La sinopsis de ¡Oh, mi bomba! y el guión de El forajido solitario le hicieron ganar el ascenso y para su debut se le asignó la comedia Todo sobre el matrimonio, en 1958. El forajido solitario, su quinta película, basada en su propio guión, fue un enorme éxito en 1959. Su reputación se construyó en paralelo a la de otros cineastas jóvenes del momento: Suzuki, Masumura, Imamura y Oshima. Se convirtió en el director habitual de las películas de acción de la Toho. En 1974 creó la productora Kihachi y se despidió de Toho. Aunque es un director relativamente desconocido en Occidente, sus historias llenas de humor y ritmo son muy populares en Japón. Murió el 19 de febrero de 2005 cuando estaba a punto de comenzar su película número 40. Una reescritura del cine de género “Si Kurosawa es el John Ford de las películas de samuráis, Okamoto es el Samuel Fuller del género” dijo en una ocasión el crítico estadounidense Bruce Eder. -
Entretien Avec Tadao Sato Marie-Josée Rosa
Document généré le 23 sept. 2021 09:38 Ciné-Bulles Le cinéma d’auteur avant tout Entretien avec Tadao Sato Marie-Josée Rosa Volume 7, numéro 2, novembre 1987, janvier 1988 URI : https://id.erudit.org/iderudit/34516ac Aller au sommaire du numéro Éditeur(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (imprimé) 1923-3221 (numérique) Découvrir la revue Citer ce document Rosa, M.-J. (1987). Entretien avec Tadao Sato. Ciné-Bulles, 7(2), 10–12. Tous droits réservés © Association des cinémas parallèles du Québec, 1987 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Entretien avec Tadao Sato Marie-Josée Rosa « La société • Les 15 films japonais inscrits japonaise est au programme à la recherche du onzième Fes tival des films du de nouveaux monde cette an objectifs. » née traduisent bien la variété du registre cinématographique au Japon. La Fonda tion Asie Pacifique du Canada et l'A.F.P du Japon nous ont offert une gamme de films allant du documentaire le plus cru. Armée de Dieu, en avant marche de Kazuo Hara. -
Chronology of Events 2019—2020
CHRONOLOGY OF EVENTS 2019—2020 In mid-March, 2020, Japan Society closed its doors to staff, guests and the public in compliance with the COVID-19 pandemic shutdown. All onsite programs were cancelled or postponed, including the newly opened spring Gallery exhibition, with virtual events and other digital initiatives replacing physical programming. 2020 Japan Society Annual Dinner: LEADERSHIP BRIEFINGS SPECIAL EVENTS Reimagined Gala and Awards An ongoing series of C-suite invitational 18 June briefings brings together influential 2019 Bash + Benefit Auction executives and other thought leaders from 7 November Japan Society’s first ever virtual 2020 Annual Dinner: Reimagined Gala and Awards led the way the U.S. and Japan to discuss industry- Japan Society’s seventh annual benefit auction, an for fundraising events in New York during the COVID specific topics defining and driving the U.S. evening of festive food, drink and entertainment with pandemic, with New York and Tokyo co-hosts and and Japan. live and online auctions, was held in support of the approximately 350 guests—20 percent of the Society’s Arts & Culture programming. Following a audience joined from Japan. The program featured VIP dinner with special guests David Bouley, Candice presentations by Keynote Speaker Daniel P. Amos, Leadership Briefing Kumai, Shohei Shigematsu, Hiroshi Sugimoto and Chairman and CEO, Aflac Incorporated and kyogen 21—22 May Basil Twist, Christy Williams Coombs of Sotheby’s actor Mansaku Nomura, the Japan Society Award Online invitational program. Co-presented with conducted the live auction. Guests enjoyed Recipient. TV personality and international model Brunswick Group. With Neil Wolin, CEO, Brunswick installations, live performances, and projections Mika Ahn was the Master of Ceremonies Tokyo and Group. -
Portrayals of Police and Crime in Japanese Anime and Manga
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository ALL THE EVIL OF GOOD: PORTRAYALS OF POLICE AND CRIME IN JAPANESE ANIME AND MANGA By Katelyn Mitchell Honors Thesis Department of Asian Studies University of North Carolina at Chapel Hill April 23, 2015 Approved: INGER BRODEY (Student’s Advisor) 1 “All the Evil of Good”: Portrayals of Police and Crime in Japanese Anime and Manga By Katelyn Mitchell “Probity, sincerity, candor, conviction, the idea of duty, are things that, when in error, can turn hideous, but – even though hideous, remain great; their majesty, peculiar to the human conscience, persists in horror…Nothing could be more poignant and terrible than [Javert’s] face, which revealed what might be called all the evil of good” -Victor Hugo, Les Misérables Volume I, Book VIII, Chapter III: “Javert Satisfied” Abstract This thesis examines and categorizes the distinct, primarily negative, portrayals of law enforcement in Japanese literature and media, beginning with its roots in kabuki drama, courtroom narratives and samurai codes and tracing it through modern anime and manga. Portrayals of police characters are divided into three distinct categories: incompetents used as a source of comedy; bland and consistently unsuccessful nemeses to charismatic criminals, used to encourage the audience to support and favor these criminals; or cold antagonists fanatically devoted to their personal definition of ‘justice’, who cause audiences to question the system that created them. This paper also examines Western influences, such as Arthur Conan Doyle’s Sherlock Holmes and Victor Hugo’s Inspector Javert, on these modern media portrayals. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit „Feind- und Konfliktbilder des Kalten Krieges in Fernsehen, Film und Literatur“ Verfasser Gregor Christian Egon Höller angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, im Mai 2011 Studienkennzahl lt. Studienblatt: A 190 313 362 Studienrichtung lt. Studienblatt: Lehramtsstudium UF Geschichte Sozialkunde Politische Bildung UF Russisch Betreuerin / Betreuer: A.o. Univ. Prof. Dr. Gernot Heiss - 2 - Ich danke allen, die mir während des Studiums geholfen haben, insbesondere meiner Großmutter mütterlicherseits Elisabeth Höller, der ich diese Diplomarbeit auch widme. - 3 - - 4 - Inhaltsverzeichnis Abkürzungsverzeichnis .................................................................................................... 7 1) Allgemein ............................................................................................................................... 9 1.1) Einleitung ......................................................................................................................... 9 1.2) Forschungsstand ............................................................................................................ 12 1.2.a) Deutsche Demokratische Republik ......................................................................... 12 1.2.b) Großbritannien ........................................................................................................ 13 1.2.c) Japan ....................................................................................................................... -
Naomi Kawase
Ministério da Cultura e Banco do Brasil apresentam e patrocinam O CINEMA DE NAOMI KAWASE CCBB Rio de Janeiro 17 a 29 de maio de 2011 CCBB Brasília 31 de maio a 12 de junho de 2011 O Ministério da Cultura e o Banco do Brasil apresentam O cinema de Naomi Kawase, retrospectiva integral daque- la que é uma das mais premiadas diretoras do cinema ja- ponês contemporâneo. Naomi Kawase investe em um cinema pessoal, muitas vezes autobiográfico, com histórias atravessadas pela per- da e pela busca da identidade. Distendendo os limites entre o documentário e a ficção, seus filmes parecem que- rer tocar e acariciar o mundo, para celebrá-lo e guardá-lo contra a perda. Com a retrospectiva completa da cineasta, o Centro Cultu- ral Banco do Brasilo ferece ao público brasileiro a oportuni- dade de conhecer melhor essa artista singular, cujos filmes convidam à contemplação e à experiência do mundo. Centro Cultural Banco do Brasil ÍNDICE 9 Água corpo casa Kawase Carla Maia e Patrícia Mourão 16 Algumas notas Naomi Kawase 19 FILMOGRAFIA ENSAIOS 87 Dar à luz. Naomi Kawase Luis Miranda 117 Certo canto escuro do cinema moderno Adrian Martin 137 O cinema no umbral José Manuel López 159 Repetição e ruptura nos filmes de Kawase Naomi Aaron Gerow 180 Naomi Kawase e o presente Keiji Kunigami 196 Luz e sombra sobre os olhos João Dumans 207 (consentir ou a arte de fazer cinema sem manuais) Francesca Azzi 214 Sobre os autores 218 Programação de debates 9 ÁGUA CORPO CASA KAWASE CARLA MAIA E PATRÍCIA MOURÃO* Chove muito no cinema de Naomi Kawase: quando não chove, está para chover.