Das Stipendienprogramm Der SWM Bildungsstiftung Pressemitteilung SWM
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Japanese Cinema’S Logic], Tokyo: SanIchi Shobo¯
14 DARK VISIONS OF JAPANESE FILM NOIR Suzuki Seijun’s Branded to Kill (1967) Daisuke Miyao I think that motion pictures should create events by themselves . They should not restrict themselves to merely recreating what has actually happened . Once such events created on the screen occur in reality, motion pictures begin to have a relationship with the society for the first time. (Suzuki Seijun quoted in Ueno 1991: 114) Suzuki Seijun’s 1967 film Branded to Kill (Koroshi no rakuin – hereafter Branded) – the story of a contract killer being dismissed by a gangster organization – created a controversial real life incident when Nikkatsu, one of Japan’s oldest film studios, dismissed Suzuki, then one if its contract directors, ten months after its release. On April 25, 1968, Suzuki was directing the television series Aisai-kun konbanwa: aru ketto¯ [Good Evening, Mr Devoted Husband: A Duel]. He received a telephone call from the secretary of Hori Kyu¯saku, the president of Nikkatsu, and was told that the studio would not pay his salary for April. Just like that, Suzuki Seijun was fired from Nikkatsu. To be sure, Branded had not been a financial and critical success. The film journal Kinema Junpo¯ reported that the release of Branded on a double feature with A Bug That Eats Flowers (Hana wo ku¯ mushi, Nishimura Sho¯goro¯, 1967) ‘resulted in less than 2,000 viewers at Asakusa and Shinjuku and about 500 in Yu¯rakucho¯ on the second day’ (quoted in Ueno 1986: 336). Indeed, Yamatoya Atsushi (1994: 38), one of Branded’s screenwriters, recalls that the Nikkatsu theater in Shinjuku where the film was originally screened was more or less empty on its opening day. -
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 -
É“Ƒ木Ƹ…É¡º Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
铃木清顺 电影 串行 (大全) Youth of the Beast https://zh.listvote.com/lists/film/movies/youth-of-the-beast-3209868/actors Tattooed Life https://zh.listvote.com/lists/film/movies/tattooed-life-3213596/actors The Flower and the Angry https://zh.listvote.com/lists/film/movies/the-flower-and-the-angry-waves-3232701/actors Waves Princess Raccoon https://zh.listvote.com/lists/film/movies/princess-raccoon-3403453/actors Yumeji https://zh.listvote.com/lists/film/movies/yumeji-4184168/actors A Tale of Sorrow and https://zh.listvote.com/lists/film/movies/a-tale-of-sorrow-and-sadness-4659954/actors Sadness Carmen from Kawachi https://zh.listvote.com/lists/film/movies/carmen-from-kawachi-5043628/actors Eight Hours of Terror https://zh.listvote.com/lists/film/movies/eight-hours-of-terror-5348979/actors Everything Goes Wrong https://zh.listvote.com/lists/film/movies/everything-goes-wrong-5417991/actors Fighting Elegy https://zh.listvote.com/lists/film/movies/fighting-elegy-5447889/actors Detective Bureau 2-3: Go to https://zh.listvote.com/lists/film/movies/detective-bureau-2-3%3A-go-to-hell-bastards%21-55526595/actors Hell Bastards! Go to Hell, Hoodlums! https://zh.listvote.com/lists/film/movies/go-to-hell%2C-hoodlums%21-5575043/actors Kanto Wanderer https://zh.listvote.com/lists/film/movies/kanto-wanderer-6365551/actors Man with a Shotgun https://zh.listvote.com/lists/film/movies/man-with-a-shotgun-6746486/actors Our Blood Will Not Forgive https://zh.listvote.com/lists/film/movies/our-blood-will-not-forgive-7110563/actors Stories of Bastards: -
Diamond Guys Booklet
ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CONTENTS 5 Voice Without a Shadow – Credits 6 Voices Behind the Shadow by Stuart Galbraith IV 15 Red Pier – Credits 16 Tough Guy, Nice Girl, Hard Choice: Red Pier by Mark Schilling 26 The Rambling Guitarist – Credits ARROW VIDEO ARROW28 North by VIDEONorthwest: The Timeless Adventures of a Rambling Guitarist by Tom Mes 38 About the Transfers ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW2 VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO VOICE WITHOUT A SHADOW Kagenaki koe Seijun Suzuki, 1958 Released 22 October 1958 CAST Yôko Minamida as Asako Hideaki Nitani as Ishikawa Nobuo Kaneko as Kawai Toshio Takahara as Kotani Shinsuke Ashida as Muraoka Jô Shishido as Hamazaki ARROW VIDEO ARROW VIDEO CREW Directed by Seijun Suzuki Produced by Kaneo Iwai Written by Ryûta Akimoto and Susumu Saji Based on the story “Voice” by Seichô Matsumoto ARROW VIDEO ARROWMusic by Hikaru HayashiVIDEO Director of Photography Kazue Nagatsuka Edited by Akira Suzuki Production Design by Takeharu Sakaguchi ARROW VIDEO ARROW5 VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO VOICES BEHIND THE SHADOW by Stuart Galbraith IV Unique among his generation of Japanese filmmakers, Seijun Suzuki (b. -
Hoffman(N)Ia in Suzuki Seijuns Filmtriologie Der Taishô-Romantik
Hoffman(n)ia in Suzuki Seijuns Filmtrilogie der Taishō-Romantik Kayo Adachi-Rabe, Berlin 1. Einleitung Suzuki Seijun wurde 1923 als Sohn eines Kimono-Händlers in Tokyo ge- boren. Im Jahr 1948 begann er, in der Filmindustrie zu arbeiten, und 1956 gab er sein Regiedebüt für das Studio Nikkatsu. Seijun drehte Gangster- und Action-Filme, die zunehmend durch individuelle Stil-Experimente auffielen.1 Die unkonventionelle Filmästhetik mißfiel bald den Produzenten. 1968 wur- de er von Nikka tsu entlassen, da seine Werke unverständlich seien. Anhänger und Kollegen gründeten ein Komitee gegen die als ungerecht empfundene Entscheidung. Die Debatte um den Vorfall entwickelte sich zu einem gesell- schaftlichen Ereignis. Seijuns Werke verkörpern durch ihre anarchistische Handlung und freizü- gige ästhetische Entfaltung der Bilder den Zeitgeist der Studentenrevolte. Sei- ne Filme der Nikkatsu-Zeit erreichten später Kultstatus. Jim Jarmusch, Wong Kar-Wai und Quentin Tarantino sehen in ihnen ein Vorbild für ihre eigene Filmgestaltung. Über ein Jahrzehnt konnte der heute international renommier- te Regisseur nicht filmen. Dann aber, 1980, ließ er ein Zeltkino unter dem Tokyoter Fernsehturm errichten, um seinen neuen Film zu präsentieren. In einem unabhängigen System von Produktion und Verleih fand er die Möglich- keit, seine Filmkunst kompromißlos zu realisieren. So entstand die “Taishō- Trilogie”, Zigeunerweisen ツィゴイネルワイゼン (1980), Kagerō-za 陽炎座 (Theater der flimmernden Luft, 1981) und Yumeji 夢二 (1991). Der vorliegen- 1 Darunter: Tōkyō nagaremono 東京流れ者 (Tokyo Drifter, 1966), Kenka erejī けんかえれ じい (Fighting Elegy, 1966) und Koroshi no rakuin 殺しの烙印 (Branded to Kill, 1967). Zur Lebensgeschichte des Regisseurs: Ueno Kōshi 上野昂志 (Hg.): Suzuki Seijun zen eiga 鈴木清順全映画, Rippū Shobō 1986 und Kawade YUme mUKKU 河出夢ムック (Hg.): Su- zuki Seijun sō tokushū 鈴木清順総特集, Kawade Shobō Shinsha 2001. -
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. -
Seijun Suzuki La Marque Du Tueur
LE CINÉASTE QUI INFLUENÇA QUENTIN TARANTINO ET JIM JARMUSCH RÉTROSPECTIVE SEIJUN SUZUKI LA MARQUE DU TUEUR LE VAGABOND DE TOKYO HISTOIRE D’UNE PROSTITUÉE LA BARRIÈRE DE CHAIR DÉTECTIVE BUREAU 2-3 LA JEUNESSE DE LA BÊTE © Nikkatsu Corporation. All rights reserved. DOSSIER DE PRESSE SEIJUN SUZUKI RÉTROSPECTIVE SEIJUN SUZUKI LE 28 MARS AU CINÉMA Quentin Tarantino, Jim Jarmusch, Wong Kar-Wai, Baz Luhrmann, Damien Chazelle… Tous se revendiquent de l’influence de Seijun Suzuki. Drôle de prouesse pour quelqu’un qui ne se destinait absolument pas au cinéma, qui était - au plus fort de sa carrière - guère mieux considéré que simple exécutant à la solde de son studio et qui n’était référencé dans aucun ouvrage de cinéma avant sa tardive reconnaissance au cours des années 1980. Comment cet artisan cambrioleur en est-il donc venu à Textes écrits par Bastian Meiresonne voler le cœur du public et des professionnels et à être considéré comme l’un des meilleurs réalisateurs japonais de tous les temps ? Né le 24 mai 1923, (de son vrai nom) Seitaro Suzuki pense emboîter le pas de ses parents marchands de textile avant d’être rattrapé par la dure réalité en échouant à tous les examens d’entrée des écoles de commerce. Il est enrôlé de force dans l’armée nipponne en 1943. Véritable miraculé, il échappe deux fois de justesse à la mort. À la fin de la guerre, il est recalé de la prestigieuse Université de Tokyo, mais accepté comme assistant aux studios de la Shochiku sans rien connaître au cinéma. DISTRIBUTION : PRESSE : De son propre aveu, il passe le plus clair de son temps à roupiller sur les tournages avant d’intégrer les studios de la Nikkatsu. -
2012 Entrevista Suzuki
SEMI-DESCONOCIDO EN ESPAÑA, EL DIRECTOR DE CINE SEIJUN SUZUKI HA IDO GANANDO EL RECONOCIMIENTO QUE MERECE. EN ESPAÑA, EL FESTIVAL DE GIJÓN LE HOMENAJEÓ, Y LA FILMOTECA ESPAÑOLA HIZO UNA RETROSPECTIVA. ÉL ESTUVO EN LA SALA DE PROYECCIONES DE LA FILMOTECA, EL CINE DORÉ, Y TUVO LA AMABILIDAD DE CONCEDERNOS UNA ENTREVISTA ALLÁ POR DICIEMBRE DE 2001. LA PUBLICAMOS EN ENERO DEL 2002 (RONIN VOL. 1.7) DE NUEVO LA OFRECEMOS TAL Y COMO SE PUBLICÓ. ESPERO QUE OS GUSTE. FUE UN AUTÉNTICO PRIVILEGIO ENTREVISTARLE. UN HOMBRE SENCILLO, DIVERTIDO Y VITAL CON UNA VISIÓN DEL CINE MUY PERSONAL. Para empezar, ¿cómo se definiría a usted mismo? Como un director de Serie "B" japonés. ¿Cuándo y porqué empezó a hacer cine? Hacia 1955, por lo que llevo más de cuarenta años de profesión. El motivo fue que en esa época, en la post- guerra, en Japón no había trabajo, y se buscaba cualquier cosa. Tuve la suerte de aprobar los exámenes para entrar en una productora, la Shochiku . ¿Quién influyó más en su estilo, tanto japonés como extranjero? Japoneses, Kozaburo Yoshimura , y extranjeros, muchos americanos, pero por citar a dos, John Ford y Terence Young . Y siguiendo con su estilo, ¿cómo lo definiría? Mi mayor interés es hacer una película interesante, para entretener. ¿Le gustaría tocar otro género que aún no haya tratado? Creo que mezclo géneros, por lo que prácticamente he tocado todos los géneros, pero quizás, me gustaría hacer un musical. ¿Le gustaría trabajar con alguna persona determinada, ya sea actor, guionista, ..., tanto japonés como extranjero? De Japón, nadie, y extranjero.. -
Seijun Suzuki. Marcado Por El Crimen (Jesús Palacios)
SEIJUN SUZUKI. MARCADO POR EL CRIMEN _______________________________________________ Rompiendo las reglas Si hay un cineasta japonés que representa la máxima expresión de la creatividad y libertad formal que la Serie B puede otorgar –y quitar- a quienes se ven atrapados en sus redes, ése es Seijun Suzuki (1923-2017). Durante las décadas de los 50 y 60 Suzuki trabajó a ritmo endiablado para la productora Nikkatsu, especializándose en películas de bajo coste y géneros populares, programa B de los estrenos del momento. Tras comenzar como ayudante para otros nombres de la casa, en 1956 realizaría su primer film como director, Victory is Mine (Minato no kanpai: Shori o Waga Te ni), historia ligera de amor y gánsters perteneciente al género del Kayo-eiga, dirigido al público juvenil y basado en éxitos de la música pop. Sería el primero de los 39 que rodaría para Nikkatsu. Pero es Underworld Beauty (Ankokugai no bijo, 1958), su tercera película y primera firmada como Seijun Suzuki –su verdadero nombre era Seitaro- la que supondría su debut dentro del cine yakuza, al que permanecería ya siempre unido pese a incursiones tan memorables en otros géneros como Gate of Flesh (Nikutai no mon, 1964), adaptación de la descarnada novela erótica de Taijiro Tamura, padre de la Nikutai Bungaku (literatura de la carne). Pese al éxito, Suzuki se aburría. Las fórmulas repetitivas y fijas del género encorsetaban una imaginación permanentemente necesitada de jugar con los límites narrativos. El cambio empieza a operarse en Youth of the Beast (Yaju no seishun, 1963), Cosecha roja a la yakuza con su actor fetiche, Jo Shishido -el hombre de los pómulos imposibles-, a la que seguiría The Bastard (Akutaro, 1963), melodrama juvenil de época que deriva en toques oníricos y trágico erotismo. -
Berkeley Art Museum·Pacific Film Archive M a Y / J U N E 2 0 16
MAY/JUNE 2016 MAY/JUNE BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ARCHITECTURE OF LIFE MFA OTOBONG NKANGA CECILIA EDEFALK FAMILY DAY SEIJUN SUZUKI WIM WENDERS AUTEUR, AUTHOR: FILM AND LITERATURE UCLA FESTIVAL OF PRESERVATION MEXICAN FILM NOIR EARLY MUSIC FILM FESTIVAL Visiting BAMPFA UNIVERSITY AVE Note on Summer Admission HOURS UC BERKELEY JUNE 1–JULY 5 Wednesday–Sunday, 11 a.m.–9 p.m. ADMISSION ST OXFORD Beginning June 1, while we take down Architecture of ADDISON ST Galleries SHATTUCK AVE > AVE SHATTUCK Life and begin to install our summer exhibitions, there < AVE SHATTUCK will be no charge for gallery admission. The cafe, store, FREE BAMPFA members; UC Berkeley students, faculty, staff, Art Lab, Reading Room, and Film Library & Study Center retirees; 18 & under (plus one guardian) BAM will remain open during this period and the public will $10 Non-UC Berkeley students, 65+, disabled persons PFA also be able to access the lobby, forum, and atrium. We $12 General admission CENTER ST will charge an $8 flat fee for Full; concerts on June 5 Free First Thursdays: Galleries free first Thursday of each month will also be ticketed. Two exhibitions will open toward Theater the end of this time frame and visitors will be able to Cal Student Film Pass holders access these free of charge. Theater admission will not FREE ALLSTON WAY be affected and film programming continues into the $7 BAMPFA members, UC Berkeley students summer without a break. Regular gallery admission $8 UC Berkeley faculty, staff, retirees; non-UC Berkeley N resumes on Wednesday, July 6. -
Japanese Cinema: Texts and Contexts
JAPANESE CINEMA: TEXTS AND CONTEXTS Japanese Cinema: Texts and Contexts includes twenty-four chapters on key films of Japanese cinema, from the silent era to the present day, providing a com- prehensive introduction to Japanese cinema history and Japanese culture and society. Studying a range of important films, from Late Spring, Seven Samurai and In the Realm of the Senses to Godzilla, Hana-Bi and Ring, the collection includes discus- sion of all the major directors of Japanese cinema including Ozu, Mizoguchi, Kurosawa, Oshima, Suzuki, Kitano and Miyazaki. Each chapter discusses the film in relation to aesthetic, industrial or critical issues and ends with a complete filmography for each director. The book also includes a full glossary of terms and a comprehensive bibliography of readings on Japanese cinema. Bringing together leading international scholars and showcasing pioneering new research, this book is essential reading for all students and general readers interested in one of the world’s most important film industries. Contributors: Carole Cavanaugh, Darrell William Davis, Rayna Denison, David Desser, Linda Ehrlich, Freda Freiberg, Aaron Gerow, Alexander Jacoby, D. P. Martinez, Keiko I. McDonald, Joan Mellen, Daisuke Miyao, Mori Toshie, Abé Mark Nornes, Alastair Phillips, Michael Raine, Donald Richie, Catherine Russell, Isolde Standish, Julian Stringer, Mitsuyo Wada-Marciano, Yomota Inuhiko, Mitsuhiro Yoshimoto. Alastair Phillips is Associate Professor in Film Studies at the University of Warwick. Julian Stringer is Associate Professor in Film Studies at the University of Nottingham. JAPANESE CINEMA: TEXTS AND CONTEXTS Edited by Alastair Phillips and Julian Stringer First published 2007 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016, USA Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2007. -
Historical Dictionary of Japanese Cinema
HISTORICAL DICTIONARIES OF LITERATURE AND THE ARTS Jon Woronoff, Series Editor Science Fiction Literature, by Brian Stableford, 2004. Hong Kong Cinema, by Lisa Odham Stokes, 2007. American Radio Soap Operas, by Jim Cox, 2005. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. Fantasy Literature, by Brian Stableford, 2005. Australian and New Zealand Cinema, by Albert Moran and Errol Vieth, 2006. African-American Television, by Kathleen Fearn-Banks, 2006. Lesbian Literature, by Meredith Miller, 2006. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. British Radio, by Seán Street, 2006. German Theater, by William Grange, 2006. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. Sacred Music, by Joseph P. Swain, 2006. Russian Theater, by Laurence Senelick, 2007. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. Postmodernist Literature and Theater, by Fran Mason, 2007. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. Australian Radio and Television, by Albert Moran and Chris Keating, 2007. Polish Cinema, by Marek Haltof, 2007. Old Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. Renaissance Art, by Lilian H. Zirpolo, 2008. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. American Theater: Modernism, by James Fisher and Felicia Hardison Londré, 2008. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. Horror Cinema, by Peter Hutchings, 2008. Westerns in Cinema, by Paul Varner, 2008. Chinese Theater, by Tan Ye, 2008. Italian Cinema, by Gino Moliterno, 2008. Architecture, by Allison Lee Palmer, 2008. Russian and Soviet Cinema, by Peter Rollberg, 2008. African American Theater, by Anthony D. Hill, 2009.