No. 上映年度 Year of Exhibition 作品名 Title in Japanese サクヒンメイ Film

Total Page:16

File Type:pdf, Size:1020Kb

No. 上映年度 Year of Exhibition 作品名 Title in Japanese サクヒンメイ Film 分数 図書館収蔵 上映年度 製作年 Running Archived in Year of 作品名 原語タイトル Year of Country of Time フォーマット Fukuoka City No. Exhibition Title in Japanese サクヒンメイ Film Title Original Title Director カントク 監督/导演/導演/감독 Production 国名 Production (min.) Format Color/BW Public Library 1 1991 キルソドム キルソドム Gilsodom 길소뜸 Gilsodom Im Kwon-taek イム・グォンテク 임권택 林権澤 1985 韓国 Korea 101 35㎜ Color ★ 2 1991 李蓮英~清朝最後の宦官 リー・リエンイン Li Lian-Ying,The Imperial Eunuch 大太監 李蓮英 Tian Zhuang-Zhuang ティエン・チュアンチュアン 田壮壮 1990 中国・香港 China/Hong Kong 106 35㎜ Color ★ 3 1991 バナナ・パラダイス バナナパラダイス Banana Paradise 香蕉天堂 Wang Tung ワン・トン 王童 1989 台湾 Taiwan 145 35㎜ Color ★ 4 1991 客途秋恨 キャクトシュウコン Song of the Exie Ann Hui アン・ホイ 許鞍華 1990 香港・台湾 Hong Kong/Taiwan 100 35㎜ Color 5 1991 騎馬民族国家・第3編高句麗 キバミンゾクコッカ The Land of Eouestrian People,Koguryo Park Kil-su パク・キルス、ソン・チグク 1990 北朝鮮・日本 North Korea/Japan 70 35㎜ Color 6 1991 川島芳子 カワシマヨシコ Kawashima Yoshiko Fong Ling-ching (Eddie Fong) エディ・ホン 方令正 1990 香港 Hong Kong 97 35㎜ Color 7 1991 十月になれば ジュウガツニナレバ How I Long for October Baogio cho den thang muoi Dang Nhat Minh ダン・ニャット・ミン 1984 ベトナム Vietnam 86 35㎜ Color ★ 8 1991 囚われの美女ロロ・ムンドゥット トラワレノビジョ Roro Mendut Ami Priyono アミ・プリヨノ 1982 インドネシア Indonesia 107 35㎜ Color ★ 9 1991 希望の行方 キボウノユクエ The Immigrants Disha Sai Paranjpye サイー・パラーンジペー 1990 インド India 135 35㎜ Color ★ 10 1991 サイクリスト サイクリスト The Cyclist Mohsen Makhmalbaf モフセン・マフマルバフ 1989 イラン Iran 83 35㎜ Color ★ 11 1991 夢二 ユメジ Yumeji Suzuki Seijun スズキ・セイジュン 鈴木清順 1991 日本 Japan 128 35㎜ Color 12 1991 ワールド・アパートメント・ホラー ワールドアパートメントホラー World Apartment Horror Otomo Katsuhiro オオトモ・カツヒロ 大友克洋 1991 日本 Japan 97 35㎜ Color 13 1991 三国志・第一部「英雄たちの夜明け」 サンゴクシダイイチブ Romance of the Three Kingdoms Katsumata Tomoharu カツマタ・トモハル 勝間田具治 1991 日本 Japan 137 35㎜ Color 14 1991 黄金のシーター オウゴンノシーター Golden Sita Kanchana Sita G. Aravindan アラヴィンダン 1977 インド India 87 35㎜ Color ★ 15 1991 サーカス サーカス The Circus Tent Thampu G. Aravindan アラヴィンダン 1978 インド India 129 35㎜ BW ★ 16 1991 魔法使いのおじいさん マホウツカイノオジイサン The Bogey-Man Kummatty G. Aravindan アラヴィンダン 1979 インド India 88 35㎜ Color ★ 17 1991 エスタッパン エスタッパン Stephen Esthappan G. Aravindan アラヴィンダン 1979 インド India 93 35㎜ Color ★ 18 1991 黄昏 タソガレ Twilight Pokkuveyil G. Aravindan アラヴィンダン 1981 インド India 108 35㎜ Color ★ 19 1991 チダンバラム チダンバラム Chidambaram Chidambaram G. Aravindan アラヴィンダン 1985 インド India 103 35㎜ Color 20 1991 追われた人々 オワレタヒトビト The Dispossessed Vasthuhara G. Aravindan アラヴィンダン 1990 インド India 102 35㎜ Color ★ 21 1991 子象ちゃん コゾウチャン The Catch/Naming Ceremony G. Aravindan/N. Madhavan Pillai アラヴィンダン 1984 インド India 29 35㎜ Color ★ 22 1991 青空がぼくの家 アオゾラガボクノイエ My Sky,My Home Langitku Rumahku Slamet Rahardjo D. スラメット・ラハルジョ・ジャロット 1989 インドネシア Indonesia 105 35㎜ Color ★ 23 1991 ステファノとグレチェン ステファノトグレチェン Oseam 오세암 五歳庵 Park Chul-Soo パク・チョルス 박 철수 朴哲洙 1990 韓国 Korea 115 35㎜ Color ★ 24 1992 めざめ メザメ The Initiation Arun Kaul アルン・コウル 1991 インド India 140 35㎜ Color ★ 25 1992 上海假期 シャンハイカキ My American Grandson Ann Hui アン・ホイ 許鞍華 1991 香港・台湾 Hong Kong/Taiwan 100 35㎜ Color ★ 26 1992 スウォーズマン剣士列伝 スウォーズマンケンシレツデン Swordsman King Hu/Tsui Hark/Ching Siu-Tung キン・フー、 ツイ・ハーク、 チン・シウトン 1990 香港 Hong Kong 125 35㎜ Color 27 1992 ミョンジャ・明子・ソーニャ ミョンジャ・アキコ・ソーニャ Myungja-Akiko-Sonya 명자 아끼꼬 쏘냐 Lee Jang Ho イ・チャンホ 이장호 1992 韓国 Korea 140 35㎜ Color 28 1992 空白のページ クウハクノページ White Page Ho Quang Minh ホー・クアン・ミン 1991 カンボジア・スイス Cambodia/Switzerland 100 35㎜ Color ★ 29 1992 心の香り ココロノカオリ The True Hearted Sun Zhou スン・チョウ 孫周 1992 中国 China 98 35㎜ Color ★ 30 1992 少年と狼 ショウネントオオカミ Wolf Cub among People Talgat Temenov タルガット・テメノフ 1989 カザフスタン Kazakhstan 85 35㎜ Color ★ 31 1992 ハルハ河の英雄的な頁~ノモンハン事件 ハルハガワノエイユウテキナコウ The Heroic Pages from the History of the Haruha River Region Tudevin Chimid (解説者) トゥデビーン・チミッド 1991 モンゴル Mongolia 71 35㎜ Color&BW ★ 32 1992 民衆の中の顔 ミンシュウノナカノカオ Face in the Millions Zakir Hossain Raju ザキル・ホセイン・ラジュ 1990 バングラデシュ Bangladesh 24 35㎜ Color 33 1992 はるか、ノスタルジィ ハルカ、ノスタルジィ Haruka, Nostalgie Obayashi Nobuhiko オオバヤシブヒコ 大林宣彦 1991 日本 Japan 165 35㎜ Color 34 1992 福本耕平かく走りき フクモトコウスケスカクハシリキ Kohei's Race Kubota Suguru クボタ・スグル 久保田傑 1992 日本 Japan 113 35㎜ Color 35 1992 黒いサボテン クロイサボテン The Black Cacuses Le Dan レー・ザン 1991 ベトナム Vietnam 90 35㎜ Color ★ 36 1992 街角の歌 マチカドノウタ The Strolling Singers Chau Hue チャウ・フエ 1991 ベトナム Vietnam 89 35㎜ Color ★ 37 1992 とんちんかんなボム トンチンカンナボム Bom, The Fool Le Duc Tien レー・ドゥック・ティエン 1987 ベトナム Vietnam 85 35㎜ Color ★ 38 1992 静か過ぎる町 シズカスギルマチ The Quiet Town Le Duc Tien レー・ドゥック・ティエン 1986 ベトナム Vietnam 77 35㎜ BW ★ 39 1992 幸福になりたい コウフクニナリタイ Luck Trier Tu Huy トゥ・フイ 1989 ベトナム Vietnam 84 35㎜ BW ★ 40 1992 ハノイの少女 ハノイノショウジョ The Little Girl of Hanoi Hai Ninh ハーイ・ニン 1974 ベトナム Vietnam 77 35㎜ BW ★ 41 1992 河の女 カワノオンナ The Girl on the River Dang Nhat Minh ダン・ニャット・ミン 1987 ベトナム Vietnam 98 35㎜ Color ★ 42 1992 退役将軍 タイエキショウグン The Retired General Nguyen Khac Loi グエン・カック・ロイ 1988 ベトナム Vietnam 92 35㎜ BW ★ 43 1992 夢の中のランプ ユメノナカノランプ Light in Dream Do Minh Tuan ドー・ミン・トゥアン 1987 ベトナム Vietnam 75 35㎜ BW ★ 44 1992 勇者の道 ユウシャノミチ Path of the Brave Yuthana Mukdasanit ユッタナー・ムクダーサニット 1991 タイ Thailand 133 35㎜ Color 45 1992 アナザー・ワールド アナザー・ワールド Two World, The Cherd Songsri チャード・ソンスィー 1990 タイ Thailand 136 35㎜ Color ★ 46 1992 ハッサン軍曹 ハッサングンソウ Sergeant Hassan Lamberto Avellana ランベルト・アヴェリャーナ 1958 マレーシア Malaysia 121 35㎜ BW 47 1992 パシコムおじさん パシコムオジサン Uncle Pasikom Chaerul Umam ハエルル・ウマム 1991 インドネシア Indonesia 84 35㎜ Color 48 1992 マニラ・光る爪 マニラ・ヒカルツメ Manila: In the Claws of Light Lino Brocka リノ・ブロッカ 1975 フィリピン Philippines 125 35㎜ Color 49 1992 娃娃と子豚 ワワトコブタ A Piggy Tail Ko I Cheng コ・イーチョン 柯一正 1991 台湾 Taiwan 101 35㎜ Color ★ 50 1992 七つの海を越えて ナナツノウミヲコエテ Beyond the Seven Seas Saeed Anjum/Espen Thorstenson サイド・アンジュム、エスペン・トーシュテンソン 1991 パキスタン・ノルウェー Pakistan/Norway 88 35㎜ Color ★ 51 1993 われらの歪んだ英雄 ワレラノヒズンダエイユウ Our Twisted Hero 우리들의 일그러진 영웅 Park Jong-Won パク・ジョンウォン 박종원 1992 韓国 Korea 119 35㎜ Color 52 1993 開闢 カイビャク Kae Byok Kae Byok 개벽 Im Kwon-taek イム・グォンテク 임권택 林権澤 1991 韓国 Korea 135 35㎜ Color ★ 53 1993 香魂女 カコンジョ Oilmaker's Family Xie Fei シエ・フェイ 謝飛 1993 中国 China 103 35㎜ Color ★ 54 1993 ウエディング・バンケット ウエディング・バンケット The Wedding Banquet Lee Ang アン・リー 李安 1993 台湾 Taiwan 102 35㎜ Color ★ 55 1993 神の与えしもの カミノアタエシモノ Creation T. Hariharan T・ハリハラン 1992 インド India 147 35㎜ Color ★ 56 1993 選択 センタク The Need Alireza Davudnezhad アリ・レザ・ダウドネジャード 1991 イラン Iran 81 35㎜ Color ★ 57 1993 押繪と旅する男 オシエトタビスルオトコ Mirage Kawashima Toru カワシマ・トオル 川島透 1992 日本 Japan 84 35㎜ Color ★ 58 1993 裸足のピクニック ハダシノピクニック Down the Drain Yaguchi Shinobu ヤグチ・シノブ 矢口靖史 1992 日本 Japan 92 16㎜ Color ★ 59 1993 ゴビの蜃気楼 ゴビノシンキロウ Mirage above the Gobi Desert R.Dorjpalam R・ドルジパラム 1980 モンゴル Mongolia 100 35㎜ Color 60 1993 モンゴルの息子 モンゴルノムスコ Son of Mongolia I. Trauberg I・トラウベルク 1936 モンゴル Mongolia 89 35㎜ BW 61 1993 牙 キバ The Fang Bayanzagane Baatar バヤンツァガーネ・バートル 1991 モンゴル Mongolia 90 35㎜ BW 62 1993 枷 カセ Shackles N. Uranchimeg ナンサリーン・オランチメグ 1991 モンゴル Mongolia 75 35㎜ BW 63 1993 至福の禍 シフクノワザワイ An Unrortunate Fortune N. Nyamdawaa N・ニャムダワー 1991 モンゴル Mongolia 67 35㎜ Color 64 1993 風雲の聖者 フウウンノセイジャ A Saint in a Turbulent Age Ts. Tserendorji, L. Hsaravdorj Ts・シェレンドルジ、L・シャラブドルジ 1992 モンゴル Mongolia 134 35㎜ Color 65 1993 ぼくの家出 ボクノイエデ Shelter Sivan シヴァン 1991 インド India 93 35㎜ Color ★ 66 1993 友だちのうちはどこ? トモダチノウチハドコ Where is the Friend's Home Abbas Kiarostami アッバス・キアロスタミ 1987 イラン Iran 90 35㎜ Color ★ 67 1993 素晴らしいとき スバラシイトキ My Wonder Year Somching Srisupap ソムチン・スリスパプ 1993 タイ Thailand 120 35㎜ Color ★ 68 1993 ルダリ-悲しむ者- ルダリ カナシムモノ Mourner, The Kalpana Lajmi カルパナ・ラジューミ 1992 インド India 120 35㎜ Color ★ 69 1993 ドラゴン・イン ドラゴン・イン Dragon Inn Raymond Lee レイモンド・リー 李惠民 1992 香港 Hong Kong 96 35㎜ Color 70 1993 悪魔のしるし アクマノシルシ Devil's Mark Pham Thuy Nhan ヴィエト・リン 1992 ベトナム Vietnam 90 35㎜ Color ★ 71 1993 ラマダンとラモナ ラマダントラモナ Ramadhan and Ramona Chaerul Umam チャエルル・ウマム 1992 インドネシア Indonesia 88 35㎜ Color ★ 72 1993 ベールの人生 ベールノジンセイ Veil of Life Shuhaimi Baba シュハイミ・ババ 1992 マレーシア Malaysia 105 35㎜ Color ★ 73 1993 ホワイト・バッジ ホワイト・バッジ White Badges 하얀전쟁 Chung Ji-Young チョン・ジヨン 정지영 1992 韓国 Korea 123 35㎜ Color 74 1993 心配しないで シンパイシナイデ No Worries David Elfick デビッド・エルフィック 1993 オーストラリア Australia 92 35㎜ Color ★ 75 1993 無言の丘 ムゴンノオカ Hill of No Return Wang Tung ワン・トン 王童 1992 台湾 Taiwan 165 35㎜ Color ★ 76 1993 逃亡 トウボウ Absent without Leave John Laing ジョン・レイン 1993 ニュージーランド New Zealand 99 35㎜ Color ★ 77 1993 望郷 ボウキョウ Someday to Return Saito Koichi サイトウ・コウイチ 斉藤耕一 1993 日本 Japan 111 35㎜ Color 78 1994 ムアンとリット ムアントリット Muen and Rid Amdaeng Muen Kab Nai Rid Cherd Songsri チャード・ソンスィー 1994 タイ Thailand 120 35㎜ Color ★ 79 1994 メルセデス、わが愛 メルセデス、ワガアイ Mercedes, Mon Amour Mercedes, Mon Amour Bay Okan ベイ・オカン 1993 トルコ Turkey 95 35㎜ Color ★ 80 1994 従属する者 ジュウゾクスルモノ The Servile Vidheyan Adoor Gopalakrishnan アドゥール・ゴーパーラクリシュナン 1993 インド India 112 35㎜ Color ★ 81 1994 川の流れのように カワノナガレノヨウニ Down Stream Soon Yai Kyi Soe Tun チー・ソウ・トン 1989 ミャンマー Myanmar 114 35㎜ Color ★ 82 1994 レッド・ロータス レッド・ロータス The Red Lotus Bouadaeng Som-ok Southiphone ソムオック・スティポン 1988 ラオス Laos 83 35㎜ BW ★ 83 1994 帰還 キカン The Return Tro Ve Dang Nhat Minh ダン・ニャット・ミン 1994 ベトナム Vietnam 110 35㎜ Color ★ 84 1994 哀戀花火 アイレンハナビ Red Firecracker, Green Fiecrackr 炮打雙燈 He Ping ハー・ピン 何平 1994 中国 China 111 35㎜ Color ★ 85 1994 新不了情 [つきせぬ想い] ツキセヌオモイ C'est Vie, Mon Cheri 新不了情 Yee Tung-sing イー・トンシン 爾冬陞 1993 香港 Hong Kong 99 35㎜ Color ★ 86 1994 恋人たちの食卓(飲食男女) コイビトタチノショクタク Eat drink Man Woman 飲食男女 Lee Ang アン・リー 李安 1994 台湾 Taiwan 123 35㎜ Color ★ 87 1994 その木戸を通って ソノキドヲトオッテ Fusa Ichikawa Kon イチカワ・コン 市川崑 1992 日本 Japan 92 35㎜ Color 88 1994 妻はフィリピーナ ツマハフィリピーナ My wife is Filipiina Terada Yasunori テラダ・ヤスノリ 寺田靖範 1993 日本 Japan 100 16㎜ Color 89 1994 ザ・ブーツ ザ・ブーツ The Boots Chakmeh
Recommended publications
  • Representing Identity in Cinema: the Case of Selected
    REPRESENTING IDENTITY IN CINEMA: THE CASE OF SELECTED INDEPENDENT FILMS OF BANGLADESH By MD. FAHMIDUL HOQUE Thesis submitted in fulfillment of the requirement For the degree of Doctor of Philosophy June 2010 ACKNOWLEDGEMENT I must acknowledge first and offer my gratitude to my supervisor, Dr. Shanthi Balraj, Associate Professor, School of Arts, Universiti Sains Malaysia (USM), whose sincere and sensible supervision has elevated the study to a standard and ensured its completion in time. I must thank the Dean and Deputy Dean of School of Arts, USM who have taken necessary official steps to examining the thesis. I should thank the Dean of Institute of Post-graduate Studies (IPS) and officials of IPS who have provided necessary support towards the completion of my degree. I want to thank film directors of Bangladesh – Tareque Masud, Tanvir Mokammel, Morshedul Islam, Abu Sayeed – on whose films I have worked in this study and who gave me their valuable time for the in-depth interviews. I got special cooperation from the directors Tareque Masud and Catherine Masud who provided enormous information, interpretation and suggestions for this study through interview. Tanvir Mokammel was very kind to provide many materials directly related to the study. I must mention the suggestions and additional guidance by film scholar Zakir Hossain Raju who especially helped me a lot. His personal interest to my project was valuable to me. It is inevitably true that if I could not get the support from my wife Rifat Fatima, this thesis might not be completed. She was so kind to interrupt her career in Dhaka, came along with me to Malaysia and gave continuous support to complete the research.
    [Show full text]
  • Representation of Liberation War in the Films of 90S
    [Scientific Articles] Shifat S., Ahmed S. Representation of Liberation War in the Films of 90s REPRESENTATION OF LIBERATION WAR IN THE FILMS OF 90s Shifat S. Assistant Professor at Jahangirnagar University Journalism & Media Studies Department (Dhaka, Bangladesh) [email protected] Ahmed S. Assistant Professor at Jahangirnagor University Journalism & Media Studies Department (Dhaka, Bangladesh) [email protected] Abstract: In the history of Bangladesh, the liberation War of 1971 is an unforgettable period. Through the bloody struggle of nine months their independence is achieved, which simultaneously contains the spirit of Bengali spirit, love and patriotism towards the motherland. Bangladeshi people participated in the spirit of love and extreme sacrifice from every sphere of society for the motherland and Bengali language. In addition to other mass media, film is an equally important medium and in films there is a great deal of effort to uncover the vital role of creating ideas and consciousness among people about the liberation War. With this in mind, this study tried to find out, how the films conceptualise the spirit and history of the liberation War in the 90s after two decades of freedom. This study has been conducted taking three feature films of the 90s based on the liberation war. Adopting the content analysis method, the study aimed to answer two questions- ‘How do the films of the 90s represent the liberation War of Bangladesh?’; and, ‘To portray the history of the liberation war, what kind of content and contexts have been used in these films?’ The results showed that the films of the nineties signify the jana-itihas of Bangladesh by attaining the concept of the liberation War in a distinctive way.
    [Show full text]
  • Philippine Humanities Review, Vol. 13, No
    The Politics of Naming a Movement: Independent Cinema According to the Cinemalaya Congress (2005-2010) PATRICK F. CAMPOS Philippine Humanities Review, Vol. 13, No. 2, December 2011, pp. 76- 110 ISSN 0031-7802 © 2011 University of the Philippines 76 THE POLITICS OF NAMING A MOVEMENT: INDEPENDENT CINEMA ACCORDING TO THE CINEMALAYA CONGRESS (2005-2010) PATRICK F. CAMPOS Much has been said and written about contemporary “indie” cinema in the Philippines. But what/who is “indie”? The catchphrase has been so frequently used to mean many and sometimes disparate ideas that it has become a confusing and, arguably, useless term. The paper attempts to problematize how the term “indie” has been used and defined by critics and commentators in the context of the Cinemalaya Film Congress, which is one of the important venues for articulating and evaluating the notion of “independence” in Philippine cinema. The congress is one of the components of the Cinemalaya Independent Film Festival, whose founding coincides with and is partly responsible for the increase in production of full-length digital films since 2005. This paper examines the politics of naming the contemporary indie movement which I will discuss based on the transcripts of the congress proceedings and my firsthand experience as a rapporteur (2007- 2009) and panelist (2010) in the congress. Panel reports and final recommendations from 2005 to 2010 will be assessed vis-a-vis the indie films selected for the Cinemalaya competition and exhibition during the same period and the different critical frameworks which panelists have espoused and written about outside the congress proper. Ultimately, by following a number PHILIPPINE HUMANITIES REVIEW 77 of key and recurring ideas, the paper looks at the key conceptions of independent cinema proffered by panelists and participants.
    [Show full text]
  • Religious Studies 181B Political Islam and the Response of Iranian
    Religious Studies 181B Political Islam and the Response of Iranian Cinema Fall 2012 Wednesdays 5‐7:50 PM HSSB 3001E PROFESSOR JANET AFARY Office: HSSB 3047 Office Hours; Wednesday 2:00‐3:00 PM E‐Mail: [email protected] Assistant: Shayan Samsami E‐Mail: [email protected] Course Description Artistic Iranian Cinema has been influenced by the French New Wave and Italian neorealist styles but has its own distinctly Iranian style of visual poetry and symbolic lanGuaGe, brinGinG to mind the delicate patterns and intricacies of much older Iranian art forms, the Persian carpet and Sufi mystical poems. The many subtleties of Iranian Cinema has also stemmed from the filmmakers’ need to circumvent the harsh censorship rules of the state and the financial limitations imposed on independent filmmakers. Despite these limitations, post‐revolutionary Iranian Cinema has been a reGular feature at major film festivals around the Globe. The minimalist Art Cinema of Iran often blurs the borders between documentary and fiction films. Directors employ non‐professional actors. Male and female directors and actors darinGly explore the themes of Gender inequality and sexual exploitation of women in their work, even thouGh censorship laws forbid female and male actors from touchinG one another. In the process, filmmakers have created aesthetically sublime metaphors that bypass the censors and directly communicate with a universal audience. This course is an introduction to contemporary Iranian cinema and its interaction with Political Islam. Special attention will be paid to how Iranian Realism has 1 developed a more tolerant discourse on Islam, culture, Gender, and ethnicity for Iran and the Iranian plateau, with films about Iran, AfGhanistan, and Central Asia.
    [Show full text]
  • K O R E a N C in E M a 2 0
    KOREAN CINEMA 2006 www.kofic.or.kr/english Korean Cinema 2006 Contents FOREWORD 04 KOREAN FILMS IN 2006 AND 2007 05 Acknowledgements KOREAN FILM COUNCIL 12 PUBLISHER FEATURE FILMS AN Cheong-sook Fiction 22 Chairperson Korean Film Council Documentary 294 206-46, Cheongnyangni-dong, Dongdaemun-gu, Seoul, Korea 130-010 Animation 336 EDITOR-IN-CHIEF Daniel D. H. PARK Director of International Promotion SHORT FILMS Fiction 344 EDITORS Documentary 431 JUNG Hyun-chang, YANG You-jeong Animation 436 COLLABORATORS Darcy Paquet, Earl Jackson, KANG Byung-woon FILMS IN PRODUCTION CONTRIBUTING WRITER Fiction 470 LEE Jong-do Film image, stills and part of film information are provided by directors, producers, production & sales companies, and Film Festivals in Korea including JIFF (Jeonju International Film Festival), PIFF APPENDIX (Pusan International Film Festival), SIFF (Seoul Independent Film Festival), Women’s Film Festival Statistics 494 in Seoul, Puchon International Fantastic Film Festival, Seoul International Youth Film Festival, Index of 2006 films 502 Asiana International Short Film Festival, and Experimental Film and Video Festival in Seoul. KOFIC appreciates their help and cooperation. Contacts 517 © Korean Film Council 2006 Foreword For the Korean film industry, the year 2006 began with LEE Joon-ik's <King and the Clown> - The Korean Film Council is striving to secure the continuous growth of Korean cinema and to released at the end of 2005 - and expanded with BONG Joon-ho's <The Host> in July. First, <King provide steadfast support to Korean filmmakers. This year, new projects of note include new and the Clown> broke the all-time box office record set by <Taegukgi> in 2004, attracting a record international support programs such as the ‘Filmmakers Development Lab’ and the ‘Business R&D breaking 12 million viewers at the box office over a three month run.
    [Show full text]
  • World Cinema Amsterd Am 2
    WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival.
    [Show full text]
  • Habib Majidi, SMPSP © Design : Laurent Pons / Troïka CREDITS
    © photos : Habib Majidi, SMPSP © Design : Laurent Pons / TROÏKA DESIGN LAURENT PONS/ TROÏKA DESIGN LAURENT PONS/ PSP M S ABIB MAJIDI, ABIB MAJIDI, H CREDITS NON CONTRACTUAL - PHOTO MEMENTO FILMS PResents official selection cannes festival SHAHAB TARANEH HOssEINI THE ALIDOOSTI SALESMAN A FILM BY ASGHAR FARHADI 125 min - 1.85 - 5.1 - Iran / France download presskit and stills on www.memento-films.com World Sales & Festivals press Vanessa Jerrom t : 06 14 83 88 82 t : +33 1 53 34 90 20 Claire Vorger [email protected] t : 06 20 10 40 56 [email protected] [email protected] http://international.memento-films.com/ t : + 33 1 42 97 42 47 SYNOPSIS Their old flat being damaged, Emad and Rana, a young couple living in Tehran, is forced to move into a new apartment. An incident linked to the previous tenant will dramatically change the couple's life. INTERVIEW WITH ASGHAR FARHADI After making THE PAST in France and in Everything depends on the viewer’s own French, why did you go back to Tehran particular preoccupations and mindset. If for THE SALESMAN? you see it as social commentary, you’ll re- When I finished THE PAST in France, I member those elements. Somebody else started to work on a story that takes place might see it as a moral tale, or from a totally in Spain. We picked the locations and different angle. What I can say is that once I wrote a complete script, without the again, this film deals with the complexity of dialogue. We discussed about the project human relations, especially within a family.
    [Show full text]
  • Notes Toward an Archaeology of Hallyu
    Volume 15 | Issue 14 | Number 4 | Article ID 5056 | Jul 15, 2017 The Asia-Pacific Journal | Japan Focus Notes Toward an Archaeology of Hallyu Mark Morris Abstract The first consciousness that a new Korean cultural wave –hallyu-- was in motion began to take shape in different forms and at different times in the rest of East Asia. It was the craze for Korean TV drama that represented a sudden apparition of something new from South Korea. Before long, however, this wave grew bigger and far more complex than anyone might have predicted, including Korean pop music and films, animation, online games, smartphones, fashion, cosmetics, etc. There have been resistances to this inundation notably in Japan, a country where several earlier mini-hallyu now seem long forgotten. Keywords Hallyu, tv drama, Korean pop, manga, film I want our nation to be the most beautiful in the world. By this I do not mean the most powerful nation. The only thing that I desire Kim Ku, 1876–1949 in infinite quantity is the power of a noble culture. This is because the power of culture both makes us happy and gives happiness to Kim Ku (1876-1949), in this rightly famous call others. to culture published not too long before his violent death, went on to articulate a vision of a Kim Ku, Baekbeom ilji (1947) Korea in which Koreans would not only be free for the first time in a long while to be Korean, Introduction but would as well project their culture out into the world. As he put it: ‘I wish our country to be not one that imitates others, but rather the source, goal, and model of this new and advanced culture.
    [Show full text]
  • Walpole Public Library DVD List A
    Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair,
    [Show full text]
  • Bab Ii Gambaran Obyek Penelitian
    BAB II GAMBARAN OBYEK PENELITIAN A. Fenomena Transgender Seks biologisdan gender adalah dua hal yang berbeda. Gender tidak berdasarkan pada anatomi fisik, tetapi berdasar pada apakah seseorang mengidentifikasi dirinya menjadi laki-laki atau perempuan dan bagaimana mereka hidup atau ingin menjalani kehidupan mereka. Di sisi lain, seks biologis melibatkan kromosom, gonad, hormon seks, struktur reproduksi internal dan genital eksternal. Saat lahir, kita mengidentifikasi individu sebagai laki-laki atau perempuan didasarkan pada faktor-faktor ini.Apakah anak-anak akan mengidentifikasikan dirinya sebagai laki-laki atau perempuan dapat menjadi cerita yang lain. Pada anak-anak, mereka akan menyadari dan mengidentifikasi gendernya pada usia 18 bulan dan 3 tahun. Tentu saja, kebanyakan orang mengembangkan identitas gender sesuai dengan seks biologis mereka. Namun terkadang, gender seseorang tidak sesuai dengan seks biologis mereka. Kondisi inilah yang sekarang diyakini sebagai asal-usul gender terjadi sebelum kelahiran. Kini ada beberapa penelitian yang menunjukkan bahwa pada anak-anak transgender, bagian dari otak dapat berkembang dengan jalur yang berbeda dari perkembangan seks fisik. Ketika ini terjadi, seorang anak mungkin lahir dengan ketidaksesuaian antara identitas gender dan penampilan seks. Meskipun begitu mungkin ada juga sejumlah faktor yang dapat berkontribusi untuk mengubah perkembangan awal dalam penetapan gender. Genetika, obat, faktor lingkungan, 28 stres atau trauma pada ibu selama kehamilan, semuanya mungkin saja menjadi pemicu perubahan gender. Selama bertahun-tahun, Asosiasi Psikiatrik Amerika, Diagnostic and Statistical Manual of Mental Disorders atau DSM, telah menggunakan istilah Kelainan Identitas Gender (Gender Identity Disorder) untuk menggambarkan orang-orang yang transgender. Dengan menggunakan istilah ini adalah bahwa ini dapat mencirikan semua orang-orang yang transgender dimasukkan dalam sakit mental.
    [Show full text]
  • The Holy Koran of the Moorish Science Temple of America
    The Holy Koran of The Moorish Science Temple of America DIVINELY PREPARED BY THE NOBLE PROPHET DREW ALI By the guiding of his father God, Allah; the great God of the universe. To redeem man from his sinful and fallen stage of humanity back to the highest plane of life with his father God, Allah. Page 1 of 100 NOBLE DREW ALI THE PROPHET AND FOUNDER OF THE MOORISH SCIENCE TEMPLE OF AMERICA, TO REDEEM THE PEOPLE FROM THEIR SINFUL WAYS. Page 2 of 100 Table of Contents Prologue Chapter I The Creation and Fall of Man Chapter II Education of Mary and Elizabeth in Zoan, Egypt Chapter III Elihu's Lessons--The Unity of Life Chapter IV Death and Burial of Elizabeth--Matheno's lessons--The ministry of Death Chapter V After the Feast--The Homeward Journey--The Missing Yashuah--The Search For Him--His Parents Find Him in the Temple--He Goes With Them to Nazareth--Symbolic Meaning of Carpenter's Tools Chapter VI Life and Works of Yashuah in India Among the Moslems Chapter VII The Friendship of Yashuah and Lamass--Yashuah Explains the Meaning of Truth Chapter VIII Page 3 of 100 Yashuah Reveals to the People of Their Sinful Ways Chapter IX Yashuah Attends a Feast in Behar and Here He Taught Human Equality Chapter X Yashuah Spake on the Unity Of Allah and Man to the Hindus Chapter XI Yashuah and Barata--Together They Read the Sacred Books Chapter XII Yashuah Teaches the Common People at a Spring--Tells How to Obtain Eternal Happiness Chapter XIII Life and Works Of Yashuah in Egypt Among the Gentiles Chapter XIV The Ministry of John the Harbinger John, the Harbinger, Returns to Hebron, Lives as a Hermit in the Wilds, Visits Jerusalem and Speaks to the People Chapter XV Divine Ministry of Yashuah--Yashuah Goes to the Wilderness for Self Examination, Where He Remains for Forty Days.
    [Show full text]
  • Cinema) History
    Campos / Ghostly Allegories 611 GHOSTLY ALLEGORIES: HAUNTING AS CONSTITUTION OF PHILIPPINE (TRANS) NATIONAL (CINEMA) HISTORY Patrick Campos University of the Philippines Film Institute [email protected] Abstract By reading through the con–texts of Yam Laranas’s The Echo (2008) and Kelvin Tong’s The Maid (2005), the essay considers three Filipino genres that ironically gathered momentum at the time of the Philippine film industry’s crisis and decline in the 1990s up to the 2000s – the historical drama, the OFW (overseas Filipino worker) film, and horror. In the process, the essay constitutes an alternative map of Philippine cinema premised on inter-national transactions across states and film industries, on the one hand, and on the nodal and spectral bodies of Filipinas that network these states and industries, on the other hand. Dwelling on multiform hauntings, it ultimately focuses on how nations/cinemas – through (de)localized genres – are constituted and called into account by specters of (cinema) histories. Keywords Philippine cinema, Singapore cinema, transnational cinema, Asian horror, OFW film About the Author Patrick Campos is Assistant Professor at the University of the Philippines Film Institute. He is currently Director of the Office of Extension and External Relations of the College of Mass Communication, University of the Philippines, Diliman, where he previously served as College Secretary. Kritika Kultura 21/22 (2013/2014): –643 © Ateneo de Manila University <http://kritikakultura.ateneo.net> Campos / Ghostly Allegories 612 I came here to see the world. I ended up looking into the saddest and darkest part of the human heart. Here my journey ends.
    [Show full text]