Bills Introduced to Stop Relocation Fellows Aid He Could Under
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OUTRAGE BEYOND a BANDAI VISUAL, TV TOKYO OMNIBUS JAPAN, WANER BROS PICTURES JAPAN and OFFICE KITANO Production a FILM by TAKESHI KITANO
A FILM BY TAKESHI KITANO OUTRAGE BEYOND A BANDAI VISUAL, TV TOKYO OMNIBUS JAPAN, WANER BROS PICTURES JAPAN and OFFICE KITANO Production A FILM BY TAKESHI KITANO OUTRAGEWORLD SALES INTERNATIONAL PRESS BEYONDJAPAN - 2012 - 112MIN - COLOR - CINEMASCOPE - DOLBY SRD/SR RICHARD LORMAND - FILM PRESS PLUS Celluloid Dreams www.FilmPressPlus.com 2 rue Turgot Paris F 75009 [email protected] T : + 33 1 4970 0370 T: +33-9-7044-9865 (France) F : + 33 1 4970 0371 IN VENICE: +39-347-256-4143 [email protected] www.celluloid-dreams.com The huge Sanno crime family has grown into a huge organization, expanding its power into politics and legitimate big business. The Sanno’s upper ranks are now dominated by young executives who promote black-marketeering rather than the traditional underground income sources. The old-guard members are penting up resentment as they see themselves being pushed to the sidelines. This vulnerable spot in the Sanno hierachy is exactly what anti-gang detective Kataoka has been looking for, as the police force prepares a full-scale crackdown. With secret plots and dirty tricks, the ambitious Kataoko will open up a whole new game of yakuza power struggle. Detective Kataoka intends to instigate conflict between the Sanno and the Hanabishi, their long-time neighboring ally, in the hopes that they ultimately destroy each other. To help weaken the Sanno, the underhanded cop also provokes their grumbling old-guard executives to consider usurping Chairman Kato from top position. And Kataoka’s trump card is the arranged release from prison of Otomo, the rumored-dead boss of a family once crushed by the Sanno. -
III. Appellate Court Overturns Okubo-Yamada
III. appellate PACIFIC CrrlZEN court overturns Publication of the National Japanese American Citizens League Okubo-Yamada Vol. 86 No. 1 New Year Special: Jan. 6-13, 1978 20¢ Postpaid U.S. 15 Cents STOCKTON, Calif.-It was a go law firm of Baskin, festive Christmas for the Server and Berke. It is "ex Okubo and Yamada families tremely unlikely" the appel here upon hearing from late court would grant Hil their Chicago attorneys just ton Hotel a rehearing at the before the holidays that the appellate level nor receive Jr. Miss Pageant bars alien aspirants lllinois appellate court had permission to appeal to the SEATTLE-Pacific Northwest JACL leaders concede the "It would seem only right and proper that the pageant reversed the Cook County lllinois supreme court, fight to reinstate a 17-year-{)ld Vietnamese girl of Dayton, rules should be amended to include in their qualifications trial court decision and or Berke added. He said! Wash. who was denied the Touchet Valley Junior Miss dered the 1975 civil suit "The end result, after all of pageant candidates the words 'and aliens legally ad aeainst the Hilton Hotel title because she was not an American citizen has most these petitions, is that we are mitted as pennanent residents of the United States'," Ya Corp. to be reheard going to be given amthero~ likely been lost. mamoto wrote in a letter to the Spokane Spokesman Re The Okubo-Yamada case portunity to try this case or The state Junior Miss Pageant will be held at Wenat view. had alleged a breach of ex settle it before trial" chee Jan. -
THE SUMMIT a Chronicle of Stones
THE SUMMIT A Chronicle of Stones (TSURUGIDAKE: TEN NO KI) A Toei/Fuji TV Production Director: Daisaku Kimura Cast: Tadanobu Asano (“Mongol” “Invisible Waves” “Kabei - Our Mother”) Teruyuki Kagawa (“Tokyo Sonata” “Tokyo!”) Toru Nakamura (“2009 Lost Memories” “Purple Butterfly”) Ryuhei Matsuda (“Gohatto -Taboo-“ “Nightmare Detective”) Aoi Miyazaki (“Atsuhime” (TV) “Nana” “Heavenly Forest”) Koji Yakusho (“Babel” “Silk” “Memoirs of a Geisha”) In 1907, a band of men challenged Japan’s last unconquered mountain, in order to complete a map of their nation. Mt. Tsurugidake - Located in Tateyama mountain range in the Northern Alps in Toyama Prefecture, Mt. Tsurugidake stands 2999m above sea level. Tsurugidake is renowned as a difficult mountain and since the beginning of historical records, it has been designated as the “god” for those engaged in mountain asceticism-shamanism and sometimes referred as “needle mountain” or “mountain of death” for its inaccessibility. Neither for fame, nor for profit, the men staked their lives on an impossible mission, for nothing more than a map. This true story gives us a frank view of the noble spirit of devotion and royal spirit, gradually becoming lost to the society of today. “This work is certainly not a film about the mountains: rather, it is a tale of human emotions and feelings and a film about life, set against the background of the mountains.” -Dir. Daisaku Kimura To realistically depict the noble existence of the climbers, Daisaku Kimura, a veteran cinematographer who filmed “Mount Hakkoda” (1977) “Virus: Day of Resurrection (Fukkatsu no Hi)” (1980) and “Poppoya-Railroad Man” (1999) challenged the shooting together with the hand-picked staff and cast set off like a group of mountaineers to challenge the beautiful yet cruel Mt. -
This Project by Patricia J
TEACHING ADULT EFL LEARNERS IN JAPAN FROM A JAPANESE PERSPECTIVE SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE MASTER OF ARTS IN TEACHING DEGREE AT THE SCHOOL FOR INTERNATIONAL TRAINING BRATTLEBORO, VERMONT BY PATRICIA JEAN GAGE SEPTEMBER 2004 © PATRICIA JEAN GAGE 2004 This project by Patricia J. Gage is accepted in its present form. The author hereby grants the School for International Training the permission to electronically reproduce and transmit this document to the students, alumni, staff, and faculty of the World Learning Community. © Patricia Jean Gage, 2004. All rights reserved. Date _________________________________ Project Advisor _________________________________ (Paul LeVasseur) Project Reader _________________________________ (Kevin O’Donnell) Acknowledgements There are so many people that contributed to this project and without their help this project would not have been possible. First, I would like to thank my Sakae and Taiyonomachi classes for always being patient with me and for taking time out of their busy schedules to write feedback about each of the topics. Second, I am very grateful to Toshihiko Kamegaya, Mayumi Noda, Katsuko Usui, Terukazu Chinen and Naoko Ueda for providing the anecdotes in the section titled “Voices from Japan.” Third, I would like to give a special thanks to Paul LeVasseur, my advisor and teacher, whose Four Skills class inspired me to do this project and whose insightful comments about this paper were invaluable. I would also like to thank the summer faculty at SIT for their dedication and commitment to the teaching profession and to their students. Next, I would like to acknowledge my reader, Kevin O’Donnell, for guiding me in the right direction and for spending time, in his already hectic schedule, to read my paper. -
Car/Bus Accident Shows Need for Public Awareness No Injuries Incurred When Car Fails to Stop for School Bus Unloading Students
25«! HC«S « S0K3- 3,,K 3IHDER,* SffilWOPORr. MICHIC* 49284 Volume 17. Issue 25 Lowell Area Readers Since 1893 Wednesday, May 5,1993 Car/bus accident shows need for public awareness No injuries incurred when car fails to stop for school bus unloading students Wet roads and a misun- Galvin was carrying two pas- alize that the red flashing lights derstanding of the law may sengers, Laura Radle, 1800 mean all motorists must stop," have been the cause of an ac- W. Main, and Darlene Hess, said Larry Mikulski Bus Su- cident Thursday on M-21 just of Lowell. No one in either perintendent for Lowell. "It west of Settle wood. The acci- car was seriously injured. looks to me like the second dent involved two cars and a Christenson was coming car was expecting the first car school bus. to a stop bccause the buses' to keep on going." A car driven by Robert red lights were flashing and it Mikulski went on to ex- Galvin, 18(K)W. Main, struck was unloading children. The plain, "until the public is more another car driven by Robert other car apparently could not educated, either by law en- Christenson, 2535 Gee Dr., as stop in time to avoid hitting forcement officials or some he was coming to a stop for a his car. other organization, this kind school busunloadingchildren. "Some police officers tell of accident will happen more The school bus was just me that these types of acci- frequently. Only next time grazed and no children were dents are occurring more fre- some child may get hurt." in spite of the damage to Robert Galvin's 1984 Olds, no serious iiyuries occurred injured. -
Product Catalog
FILMS | VIDEOS | ANIMATION | EXHIBITS | PUBLICATIONS | MULTI-MEDIA | ARCHIVES VISUAL COMMUNICATIONS PRODUCT CATALOG 2017-2018 CONTENTS 03 | Welcome 04 | About Visual Communications 06 | Product Highlights 10 | Speak Out for Justice Volumes 14 | Armed With a Camera Volumes 22 | Digital Histories Volumes 30 | VC Classics 32 | Hidden Treasures Series 34 | Documentary 36 | Narrative 37 | Graphic Film/Animation 38 | Video 43 | Filmmakers Development Program 47 | Other Works 48 | Multi-Media 49 | Photographic Exhibitions 51 | Publications 52 | Resources 54 | Rental and Sales Info 57 | Policies Oversize Image Credits: Cover: PAGE 10: Roy Nakano; PAGE 43: From HITO HATA: RAISE THE BANNER (1980) by Robert A. Nakamura and Duane Kubo (Visual Communications Photographic Archive) ALL OTHER IMAGES APPEARING IN THIS CATALOG: Courtesy The Visual Communications Photographic Archive PRODUCTION CREDITS: Project Producer: Shinae Yoon; Editor: Helen Kim; Copywriter: Jerome Academia, Helen Kim, Jeff Liu, Supachai Surongsain; Design and Layout: Abraham Ferrer; Digital Photo-imaging intern: Allison Nakamura 02 WELCOME The visual heritage of Visual Communications can be seen in the more than 100 films, videos, and multimedia productions created since the organization’s founding in 1970. Beginning with vanguard works filmed in Super 8mm, Visual Communications productions have been distinguished by their unerring fidelity to the stories and perspectives of Asian America. As evidenced within this catalog, this policy has continued as Visual Communications’ productions have transitioned from film and video to digital formats. As well, the stories being told through our various offerings reflect the ever-changing landscape of the Asian American and Pacific Islander communities, and introduces us to filmmakers and voices who have come of age in the 22 years since the first edition of this catalog. -
Transnational Legitimization of an Actor: the Life and Career of Soon-Tek Oh1
Transnational Legitimization of an Actor: The Life and Career of Soon-Tek Oh1 ESTHER KIM LEE He is the voice of the father in the Disney animation film Mulan (1998). He is Sensei in the Hollywood hit film Beverly Hills Ninja (1997). He is Lieutenant Hip in the 007 film The Man with the Golden Gun (1974). These examples may trigger memories of Soon-Tek Oh in the minds of many Americans.2 Some would vaguely remember him as the “oriental” actor whose face often gets confused with those of other Asian and Asian American actors, such as Mako and James Hong. Theatre aficionados may remember him for his award-winning role in Stephen Sondheim’s musical Pacific Overtures in the 1970s, but more Americans will know him as the quintessential “oriental” man in Hollywood. This is not the legacy Soon-Tek Oh wanted. He would prefer to be remembered as an artist, an actor who played Hamlet, Romeo, and Osvald Alving; who founded theatre companies; who promoted cultural awareness for Korean Americans; and who taught youths with all of his integ- rity. He wanted to be a “great actor,” who transcended all markings, especially racial ones, and who was recognized for his talent as an artist. He has sought what I describe in this essay as “legitimization” as a respected actor at every crucial point in his life.3 Soon-Tek Oh was the first Korean actor to appear in American mainstream theatre, film, or television.4 He left Korea for Hollywood in 1959 as a young man, seeking to learn the craft of filmmaking. -
Product Catalog
FILMS | VIDEOS | ANIMATION | EXHIBITS | PUBLICATIONS | MULTI-MEDIA | ARCHIVES VISUAL COMMUNICATIONS PRODUCT CATALOG 2013-2014 CONTENTS 03 | Welcome 04 | About Visual Communications 06 | Product Highlights 10 | Speak Out for Justice Volumes 14 | Armed With a Camera Volumes 20 | VC Classics 22 | Hidden Treasures Series 24 | Documentary 26 | Narrative 27 | Graphic Film/Animation 28 | Video 33 | Filmmakers Development Program 37 | Other Works 38 | Multi-Media 39 | Photographic Exhibitions 41 | Publications 42 | Resources 44 | Rental and Sales Info 46 | Policies Oversize Image Credits: Cover: PAGE 10: Roy Nakano; PAGE 43: From HITO HATA: RAISE THE BANNER (1980) by Robert A. Nakamura and Duane Kubo (Visual Communications Photographic Archive) ALL OTHER IMAGES APPEARING IN THIS CATALOG: Courtesy The Visual Communications Photographic Archive PRODUCTION CREDITS: Project Producer: Shinae Yoon; Editor: Helen Kim; Copywriter: Jerome Academia, Helen Kim, Jeff Liu, Supachai Surongsain; Design and Layout: Abraham Ferrer; Digital Photo-imaging intern: Allison Nakamura 02 WELCOME The visual heritage of Visual Communications can be seen in the more than 100 films, videos, and multimedia productions created since the organization’s founding in 1970. Beginning with vanguard works filmed in Super 8mm, Visual Communications productions have been distinguished by their unerring fidelity to the stories and perspectives of Asian America. As evidenced within this catalog, this policy has continued as Visual Communications’ productions have transitioned from film and video to digital formats. As well, the stories being told through our various offerings reflect the ever-changing landscape of the Asian American and Pacific Islander communities, and introduces us to filmmakers and voices who have come of age in the 22 years since the first edition of this catalog. -
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. -
Boxoffice Barometer (April 15, 1963)
as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production. -
Kinotayo 2013 — Section Classique — Retour Sur Le Film De
ittle Girl in Me” Film Partners L 2012 “The © nc. I pache A Film Partners © 2013 “The Great Passage” Film Partners Passage” 2013 “The © Great IES © 2012 L AN AN P JA 8e 3 > 21 © 2012 ÉDITION DÉCEMBRE 2013 第八回 JANVIER 2014 EN RÉGIONS Programme : 22 films dont 7 en compétition Rencontres avec trois réalisateurs FEstivaL Hommage à Yasujiro Ozu : 現 DU FILM JAPonais ses chefs-d’œuvre en couleurs restaurés ContEMPORain Documentaires : culture et société 代 Avant-premières : WWW.KinotaYO.FR WARA NO TATE de Takashi Miike OUtraGE BEYOND de Takeshi Kitano 日 Section classique : retour sur le film de gangster, un genre majeur du cinéma japonais 本 ” Film Partners 映 BLACK DAWN 画 © 2012 “ 祭 tory of Yonosuke” Film Partners Yonosuke” tory of S ueki Ressha Film Partners ueki Ressha A K © 2013 “ © © 2012 © Fidèle à sa volonté de vous faire voyager dans l’actualité MARDI 3 DÉCEMBRE 2013 À 20H du septième art japonais, le Festival Kinotayo, est CÉRÉMONIe d’OUVERTURE DU FEstivaL KINOTAYO 2013 e KINOTAYO 2013 heureux de vous présenter, pour sa 8 édition, 7 longs Avant-PREMIÈRE PARISIENNE métrages de grande qualité, produits et sortis entre AU GAUMONT OPÉRA PREMIER — 2012 et 2013, en sélection officielle pour l’attribution — des Soleils d’Or 2013. ÉDito Plusieurs réalisateurs viendront présenter leur ÉVÉNEMENTS film : Tatsushi Omori pour BOZO (2012), Shoji Kubota pour The Little Girl in Me (2012), et Shuichi Okita pour A Story of Yonosuke (2013). Parallèlement à la sélection officielle, Kinotayo proposera en avant-première au public parisien OUtragE BEyond de Takeshi Kitano. Suite indépen- dante d’OUtragE, ce film de gangster est un huis-clos féroce sur le monde de la pègre qui, fort heureuse- elluloid Dreams ment, ne manque pas d’humour… À cette occasion, C des films marquants de ce genre majeur au Japon sont © 2013 © proposés dans notre section classique initiée en 2012 : La pivoine rouge, Le cimetière de la morale et des œuvres comme Romance noire de Tatsuoki Hosono WARA NO TATE avec Koji Yakusho dans un rôle inattendu de truand en 藁の楯 (wara no tate) mal d’amour. -
YUSAKU MATSUDA Actor, 9/21/1949 - 11/6/1989 Place of Birth: Shimonoseki, Japan
YUSAKU MATSUDA Actor, 9/21/1949 - 11/6/1989 Place of Birth: Shimonoseki, Japan BIOGRAPHY Matsuda joined the high profile acting school, BUNGAKU-ZA, in 1972. In the following year, Matsuda made a major debut by performing in a TV drama series “TAIYO NI HOERO” (“Roar At The Sun” by NTV). In that drama, Matsuda performed “Mr. Jeans” (detective), and had achieved ever-lasting popularity among Japanese fans. Also in the same year, 1973, Matsuda made his screen debut with “OOKAMI NO MONSHO” (Armor of a Wolf). Since then, Matsuda made outstanding appearances in various movies and TV dramas, “RYOUMA ANSATSU” (Assassination of Ryouma, 1974) and “BOURYOKU KYOUSITSU” (Violent Classroom, 1976) and established a steady position as a promising and popular young actor. In 1977, Matsuda starred in a film, “NINGEN NO SHOUMEI” (Evidence as a human), and in 1978 Matsuda had a fateful encounter with the director, Toru Murakawa, and starred in the film, “Mottomo Kiken Na Yuugi” (The Most Dangerous Game) and displayed Matsuda’s originality as the action star. Matsuda and Murakawa worked together to create cinematic masterpieces such as “SATSUJIN YUGI” (Murder Game, 1978), “SHOKEI YUGI” (Execution Game, 1979), “YOMIGAERU KINRO” (Golden Wolf Rising from Dead, 1979), “YAJU SHISU BESHI” (Savage Animal Shall Die, 1980), and all the movies were quite successful. Apart from movies, Matsuda starred in TV drama series, “TANTEI MONOGATARI” (Detective Story), and Matsuda performed the role, detective Shunsaku Kudo, who was just back from the US, with lambency, and detective KUDO became a charismatic hero among younger generation, and made Matsuda’s position as a movie star unsurpassed success.