DOCSLIB.ORG

List of Restored Films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
List of Restored Films Restored Films by The Film Foundation Since 1996, the Hollywood Foreign Press Association has contributed over $4.5 million to film preservation. The following is a complete list of the 89 films restored/preserved through The Film Foundation with funding from the HFPA. Abraham Lincoln (1930, d. D.W. Griffith) Age of Consent, The (1932, d. Gregory La Cava) Almost a Lady (1926, d. E. Mason Hopper) America, America (1963, d. Elia Kazan) American Aristocracy (1916, d. Lloyd Ingraham) Aparjito [The Unvanquished] (1956, d. Satyajit Ray) Apur Sansar [The World of APU] (1959, d. Satyajit Ray) Arms and the Gringo (1914, d. Christy Carbanne) Ben Hur (1925, d. Fred Niblo) Bigamist, The (1953, d. Ida Lupino) Blackmail (1929, d. Alfred Hitchcock) – BFI Bonjour Tristesse (1958, d. Otto Preminger) Born in Flames (1983, d. Lizzie Borden) – Anthology Film Archives Born to Be Bad (1950, d. Nicholas Ray) Boy with the Green Hair, The (1948, d. Joseph Losey) Brandy in the Wilderness (1969, d. Stanton Kaye) Breaking Point, The (1950, d. Michael Curtiz) Broken Hearts of Broadway (1923, d. Irving Cummings) Brutto sogno di una sartina, Il [Alice’s Awful Dream] (1911) Charulata [The Lonely Wife] (1964, d. Satyajit Ray) Cheat, The (1915, d. Cecil B. deMille) Civilization (1916, dirs. Thomas Harper Ince, Raymond B. West, Reginald Barker) Conca D’oro, La [The Golden Shell of Palermo] (1910) Come Back To The Five and Dime, Jimmy Dean, Jimmy Dean (1982, d. Robert Altman) Corriere Dell’Imperatore, Il [The Emperor’s Message] (1910, d. Luigi Maggi) Death of a Salesman (1951, d. Laslo Benedek) Devi [The Godess] (1960, d. Satyajit Ray) Diary of a Chambermaid (1946, d. Jean Renoir) Eraserhead (1977, d. David Lynch) Escape – Toccata and Fugue (1937, d. Mary Ellen Bute) Exile, The (1948, d. Max Ophuls) Face in the Crowd, A (1957, d. Elia Kazan) Faces (1968, d. John Cassavetes) Farewell to Arms, A (1932, d. Frank Borzage) First Year, The (1926, d. Frank Borzage) Fistful of Dollars, A [Per un pugno di dollari] (1964, d. Sergio Leone) – TFF Collection Forbidden Paradise (1924, d. Murray Lerner) GLI auto-scat di Robinet [Tweedledum’s Auto-Skates] (1911) Gubbio [The Ancient Town of Gubbio] (1913) How Green Was My Valley (1941, d. John Ford) Indagine su un cittadino al di sopra di ogni sospetto [Investigation of a Citizen Above Suspicion] (1970, d. Eli Petri) – Cineteca di Bologna Jalsaghar [The Music Room] (1958, d. Satyajit Ray) Jana Aranya [The Middle Man] (1975, d. Satyajit Ray) Journey Into Light (1951, d. Stuart Heisler) King Kong (1933, dirs. Merian C. Cooper and Ernest B. Schoedsack) – Warner Bros. Kri Kri Rincasa Tardi [Exceeding the Time Limit] (1913) Kri Kri Riservata [Curing a Would-Be Aviator] (1913) Little Fugitive, The (1953, dirs. Ray Ashley, Morris Engel, Ruth Orkin) Lodger, The (1926, d. Alfred Hitchcock) – BFI Long Voyage Home, The (1940, d. John Ford) Lottery Bride, The (1930, d. Paul L. Stein) L’ultima monelleria di Cretinetti [Foolshead’s Last Roguery] (1911) Macbeth (1948, d. Orson Welles) Mahanagar [The Big City] (1963, d. Satyajit Ray) Man with the Golden Arm, The (1955, d. Otto Preminger) Marito perduto, Il [The Mysterious Flyer] (1920, d. Edoardo Bencivenga) Mormon Maid, A (1917, d. Robert Z. Leonard) Mysterious Shot, The (1914, d. James Kirkwood) Of Mice and Men (1940, d. Lewis Milestone) Pather Panchali [Song of the Road] (1955, d. Satyajit Ray) Paths of Glory (1957, d. Stanley Kubrick) Pleasure Garden, The (1925, d. Alfred Hitchcock) – BFI Raggio di sole [Sunbeam] (1912) Red Shoes, The (1948, dirs. Michael Powell and Emeric Pressburger) – Park Circus Richard III (1955, d. Laurence Olivier) Ring, The (1927, d. Alfred Hitchcock) – BFI River, The (1951, d. Jean Renoir) Saboteur (1942, d. Alfred Hitchcock) Salvatore Giuliano (1962, d. Francesco Rosi) – TFF Collection Schiavo di cartagine, Lo [Slave of Carthage] (1910, dirs., Arturo Ambrosio, Luigi Maggi, Roberto Omenga) Scomparso, Lo [The Dread of Doom] (1913, d. Dante Testa) Seemabaddha [Company Limited] (1971, d. Satyajit Ray) Seven Men from Now (1956, d. Budd Boetticher) Shadow of a Doubt (1943, d. Alfred Hitchcock) Shadows (1959, d. John Cassavetes) Shock Corridor (1963, d. Samuel Fuller) Sins of Ambition (1917, d. Ivan Abramson) Story of G.I. Joe, The (1945, d. William Wellman) Sweet Sweetback’s Baadasssss Song (1971, d. Mevin Van Peebles) Tales of Hoffmann, The (1951, dirs. Michael Powell and Emeric Pressburger) – TFF Collection That Cold Day in the Park (1969, d. Robert Altman) Teen Kanya [Three Daughters] (1961, d. Satyajit Ray) Ten Cents a Dance (1931, d. Lionel Barrymore) Ten Commandments, The (1923, d. Cecil B. deMille) Trilby (1915, d. Maurice Tourneur) Ugetsu (1953, d. Kenji Mizoguchi) – TFF Collection Wiser Sex, The (1932, d. Berthold Viertel) .
Load more

Recommended publications
  • Film & History: an Interdisciplinary Journal of Film and Television Studies
    Film & History: An Interdisciplinary Journal of Film and Television Studies Volume 38, Issue 2, 2008, pp. 107-109 http://muse.jhu.edu/journals/film_and_history/toc/flm.38.2.html Gaston Roberge, Satyajit Ray: Essays 1970-2005, Manohar, New Delhi (India), 2007, 280 pp., hb , ISBN: 81-7304-735-9 Reviewed by Gëzim Alpion In its scope and depth, Gaston Roberge’s new book on Satyajit Ray, is one of the most important publications to appear on this great twentieth-century film director since his 1992 death. The book includes twenty-four essays, which were written between 1970 and 2005. The timeline is important to trace the growth and maturity of Ray’s art as well as Roberge’s admiration for and appreciation of his oeuvre. The essays were originally prompted by teaching assignments and requests for articles as well as by Roberge’s long-standing and growing interest in the work and talent of the Calcutta-born filmmaker. Only Essay 8, the discussion of Jana Aranya (The Middle Man, 1975), was written for this collection to ‘complement’ the book and ‘improve’ Roberge’s ‘perception of the evolution’ (p. 14) he seeks to describe from the Apu trilogy to the Heart trilogy. Some of the essays have been edited slightly by the author to avoid repetition and, more importantly, to reflect important changes in technology since the time the articles were first published. So, for instance, in Essay 13, which appeared in print initially in 1974, Roberge rightly argues that the editing was warranted by the fact that, in the digital era, the technology of film can no longer be defined solely as the succession of still images.
    [Show full text]
  • Satyajit Ray at 100: Why Sharmila Tagore Considers 'Devi' Her Best
    TALKING FILMS Satyajit Ray at 100: Why Sharmila Tagore considers ‘Devi’ her best collaboration with the master The 1960 classic, an examination of the tussle between blind faith and rationality, was one of five Ray productions to feature Tagore. Sharmila Tagore Jan 27, 2021 · 03:30 pm Sharmila Tagore in Satyajit Ray’s Devi (1960) | Satyajit Ray Productions Satyajit Ray arrived on the planet nearly a hundred years ago in 1921 and in the world of cinema with Pather Panchali in 1955. Devi, released in 1960, was his sixth feature, and followed the Apu Trilogy, Parash Pathar and Jalsaghar. Apur Sansar, the concluding chapter of the trilogy, introduced Soumitra Chatterjee and Sharmila Tagore. Both actors would become an indelible part of Ray’s cinematic universe. The haunting Devi, set in nineteenth-century Bengal and at the intersection of blind faith and rationality, was Tagore’s first lead role. She plays Doyamayee, a member of an aristocratic family who is declared to be the living embodiment of the goddess Kali by her father- in-law Kalikinkar (Chhabi Biswas). The gentle and tradition-bound Doyamayee is unable to resist the cult that builds up around her. Her husband Umaprasad (Soumitra Chatterjee) is equally unable to persuade his father that his wife is all too human. Adapted by Ray from a short story by Prabhat Kumar Mukherjee and beautifully shot by Subrata Mitra and designed by Bansi Chadragupta, Devi provides an early peek into Tagore’s estimable acting abilities. Then only 14 years old, Tagore delivered what she describes in the following essay as her “favourite performance”.
    [Show full text]
  • A Propósito De La Filosofía Del Cine Como Educación De Adultos: La Lógica Del Matrimonio Frente Al Absurdo En La Filmografía De Gregory La Cava Hasta 1933
    A PROPÓSITO DE LA FILOSOFÍA DEL CINE COMO EDUCACIÓN DE ADULTOS: LA LÓGICA DEL MATRIMONIO FRENTE AL ABSURDO EN LA FILMOGRAFÍA DE GREGORY LA CAVA HASTA 1933 José Alfredo Peris Cancioa Fechas de recepción y aceptación: 2 de junio de 2015, 8 de julio de 2015 Resumen: Desde una concepción de la filosofía del cine como educación de adultos, se puede proponer que la aportación más genuina de la filmografía de La Cava a la expresión de la interrelación entre matrimonio y crisis económica se encuentra en la figura de los antihéroes. Con estos personajes, La Cava plantea tanto la necesidad que experimenta el ser humano de las sociedades industriales de remediar la angustia que le produce su propia debilidad y vulnerabilidad, como la necesidad de entablar relaciones de ayuda. Desde su participación en el cine de animación, así como en sus películas de cine mudo y en sus películas habladas, los protagonistas superan sus propias limitaciones gracias a relaciones de confianza con los demás, de las que el matrimonio igualitario y de mutua ayuda entre el varón y la mujer es el modelo más pleno. Palabras clave: matrimonio, confianza, antihéroes, vulnerabilidad, igualdad y com- plementariedad entre varón y mujer, ayuda, filosofía del cine, educación de adultos. Abstract: From a conception of philosophy of films education of grownups, it can be proposed that the most genuine contribution of the films of La Cava to the expression of the interrelation between marriage and economic crisis is found in the figure of the anti-heroes. With these characters La Cava presents both the need experienced by peo- ple in industrial societies to remedy the distress caused by his own weakness and vulner- a Facultad de Filosofía, Antropología y Trabajo Social, Universidad Católica de Valencia San Vicente Mártir.
    [Show full text]
  • Artist Recreates Satyajit Ray S Film Posters on 100Th Birth Anniversary
    Artist recreates Satyajit Ray's film posters on 100th birth anniversary to depict Covid crisis An artist marked 100 years of legendary filmmaker Satyajit Ray by recreating his iconic film posters to depict the Covid-19 crisis in India. Krishna Priya Pallavi Writer [email protected] If I am not writing on fashion, places you can travel to for that perfect holiday, mental health, trending topics, I am probably escaping the city for a vacation, eating a scrumptious meal at a quaint cafe, and so much more in between. Love to travel (obviously), dance, explore new places, read extensively and try out new and exciting dishes. Works as Senior Sub-Editor at India Today Digital. Aniket Mitra used posters from Satyajit Ray's iconic films to depict the Covid-19 crisis going on in India Photo: Facebook/Aniket Mitra Satyajit Ray had an inedible mark on the Indian cinema. His films are admired by cinephiles all over the world. May 2 marks 100 years since Satyajit Ray was born, and to celebrate his 100th birth anniversary, an artist paid the legendary filmmaker a poignant and relevant tribute. A Mumbai-based artist named Aniket Mitra celebrated the historic day by reimagining Satyajit Ray's iconic film posters amid the Covid times. ARTIST RECREATES SATYAJIT RAY'S FILM POSTERS TO DEPICT COVID CRISIS Aniket Mitra used ten films by Satyajit Ray to depict the Covid-19 crisis going on in India. Posters of films like Pather Panchali, Devi, Nayak, Seemabaddha, Jana Aranya, Mahanagar, Ashani Sanket and more, were used to show the citizens' struggle during the second wave of the deadly virus.
    [Show full text]
  • W Talking Pictures
    Wednesday 3 June at 20.30 (Part I) Wednesday 17 June at 20.30 Thursday 4 June at 20.30 (Part II) Francis Ford Coppola Ingmar Bergman Apocalypse Now (US) 1979 Fanny And Alexander (Sweden) 1982 “One of the great films of all time. It shames modern Hollywood’s “This exuberant, richly textured film, timidity. To watch it is to feel yourself lifted up to the heights where packed with life and incident, is the cinema can take you, but so rarely does.” (Roger Ebert, Chicago punctuated by a series of ritual family Sun-Times) “To look at APOCALYPSE NOW is to realize that most of us are gatherings for parties, funerals, weddings, fast forgetting what a movie looks like - a real movie, the last movie, and christenings. Ghosts are as corporeal an American masterpiece.” (Manohla Darghis, LA Weekly) “Remains a as living people. Seasons come and go; majestic explosion of pure cinema. It’s a hallucinatory poem of fear, tumultuous, traumatic events occur - projecting, in its scale and spirit, a messianic vision of human warfare Talking yet, as in a dream of childhood (the film’s stretched to the flashpoint of technological and moral breakdown.” perspective is that of Alexander), time is (Owen Gleiberman, Entertainment Weekly) “In spite of its limited oddly still.” (Philip French, The Observer) perspective on Vietnam, its churning, term-paperish exploration of “Emerges as a sumptuously produced Conrad and the near incoherence of its ending, it is a great movie. It Pictures period piece that is also a rich tapestry of grows richer and stranger with each viewing, and the restoration [in childhood memoirs and moods, fear and Redux] of scenes left in the cutting room two decades ago has only April - July 2009 fancy, employing all the manners and added to its sublimity.” (Dana Stevens, The New York Times) Audience means of the best of cinematic theatrical can choose the original version or the longer 2001 Redux version.
    [Show full text]
  • Pather Panchali
    February 19, 2002 (V:5) Conversations about great films with Diane Christian and Bruce Jackson SATYAJIT RAY (2 May 1921,Calcutta, West Bengal, India—23 April 1992, Calcutta) is one of the half-dozen universally P ATHER P ANCHALI acknowledged masters of world cinema. Perhaps the best starting place for information on him is the excellent UC Santa Cruz (1955, 115 min., 122 within web site, the “Satjiyat Ray Film and Study Collection” http://arts.ucsc.edu/rayFASC/. It's got lists of books by and about Ray, a Bengal) filmography, and much more, including an excellent biographical essay by Dilip Bausu ( Also Known As: The Lament of the http://arts.ucsc.edu/rayFASC/detail.html) from which the following notes are drawn: Path\The Saga of the Road\Song of the Road. Language: Bengali Ray was born in 1921 to a distinguished family of artists, litterateurs, musicians, scientists and physicians. His grand-father Upendrakishore was an innovator, a writer of children's story books, popular to this day, an illustrator and a musician. His Directed by Satyajit Ray father, Sukumar, trained as a printing technologist in England, was also Bengal's most beloved nonsense-rhyme writer, Written by Bibhutibhushan illustrator and cartoonist. He died young when Satyajit was two and a half years old. Bandyopadhyay (also novel) and ...As a youngster, Ray developed two very significant interests. The first was music, especially Western Classical music. Satyajit Ray He listened, hummed and whistled. He then learned to read music, began to collect albums, and started to attend concerts Original music by Ravi Shankar whenever he could.
    [Show full text]
  • Beyond the World of Apu: the Films of Satyajit Ray'
    H-Asia Sengupta on Hood, 'Beyond the World of Apu: The Films of Satyajit Ray' Review published on Tuesday, March 24, 2009 John W. Hood. Beyond the World of Apu: The Films of Satyajit Ray. New Delhi: Orient Longman, 2008. xi + 476 pp. $36.95 (paper), ISBN 978-81-250-3510-7. Reviewed by Sakti Sengupta (Asian-American Film Theater) Published on H-Asia (March, 2009) Commissioned by Sumit Guha Indian Neo-realist cinema Satyajit Ray, one of the three Indian cultural icons besides the great sitar player Pandit Ravishankar and the Nobel laureate Rabindra Nath Tagore, is the father of the neorealist movement in Indian cinema. Much has already been written about him and his films. In the West, he is perhaps better known than the literary genius Tagore. The University of California at Santa Cruz and the American Film Institute have published (available on their Web sites) a list of books about him. Popular ones include Portrait of a Director: Satyajit Ray (1971) by Marie Seton and Satyajit Ray, the Inner Eye (1989) by Andrew Robinson. A majority of such writings (with the exception of the one by Chidananda Dasgupta who was not only a film critic but also an occasional filmmaker) are characterized by unequivocal adulation without much critical exploration of his oeuvre and have been written by journalists or scholars of literature or film. What is missing from this long list is a true appreciation of his works with great insights into cinematic questions like we find in Francois Truffaut's homage to Alfred Hitchcock (both cinematic giants) or in Andre Bazin's and Truffaut's bio-critical homage to Orson Welles.
    [Show full text]
  • Visual Effects Society Names Acclaimed Filmmaker Martin Scorsese Recipient of the VES Lifetime Achievement Award
    FOR IMMEDIATE RELEASE Contact: Naomi Goldman, NLG Communications T: 424-293-2113 [email protected] Visual Effects Society Names Acclaimed Filmmaker Martin Scorsese Recipient of the VES Lifetime Achievement Award Los Angeles (September 19, 2019) – Today, the Visual Effects Society (VES), the industry’s professional global honorary society, named Martin Scorsese, Academy, DGA and Emmy Award winning director- producer-screenwriter, as the forthcoming recipient of the VES Lifetime Achievement Award in recognition of his valuable contributions to filmed entertainment. The award will be presented at the 18th Annual VES Awards on January 29, 2020 at the Beverly Hilton Hotel. The VES Lifetime Achievement Award, bestowed by the VES Board of Directors, recognizes an outstanding body of work that has significantly contributed to the art and/or science of the visual effects industry. VES will honor Scorsese for his consummate artistry, expansive storytelling and profound gift for blending iconic imagery and unforgettable narrative on an epic scale. Scorsese’s steadfast ability to harness craft and technology to bring his unique visions to life has resulted in exceptional narratives that have transfixed audiences and captivated millions. And as a champion of film history, his work to preserve the rich legacy of motion pictures is unparalleled. “Martin Scorsese is one of the most influential filmmakers in modern history and has made an indelible mark on filmed entertainment,” said Mike Chambers, VES Board Chair. “His work is a master class in storytelling, which has brought us some of the most memorable films of all time. His intuitive vision and fiercely innovative direction has given rise to a new era of storytelling and has made a profound impact on future generations of filmmakers.
    [Show full text]
  • LJMU Research Online
    LJMU Research Online Greene, L The Labour of Breath: performing and designing breath in cinema http://researchonline.ljmu.ac.uk/id/eprint/5961/ Article Citation (please note it is advisable to refer to the publisher’s version if you intend to cite from this work) Greene, L (2016) The Labour of Breath: performing and designing breath in cinema. Music, Sound, and the Moving Image, 10 (2). pp. 109-133. ISSN 1753-0768 LJMU has developed LJMU Research Online for users to access the research output of the University more effectively. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LJMU Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. The version presented here may differ from the published version or from the version of the record. Please see the repository URL above for details on accessing the published version and note that access may require a subscription. For more information please contact [email protected] http://researchonline.ljmu.ac.uk/ The Labour of Breath The Labour of Breath: performing and designing breath in cinema Abstract: The presence of breath in fiction film is a conscious choice by filmmakers. Since the introduction of Dolby sound in the mid 1970s we have experienced a significant development in the quality of playback systems in cinemas, which means that we are now more clearly able to hear the breathing performance of an actor.
    [Show full text]
  • Built Environment in Cinema and Why Architects Should Watch Films
    Reinventing the Truth Built environment in cinema and TIBERIU ION why architects should watch fi lms 16060192 An exploration of the existential experience of space in fi lm and architecture INTRODUCTION [4] Architectural design is a combination of art and science; however, unlike an artist, an architect is required to comply with a plethora of design legislations and regulations, which when combined with the pressures of cost and time on a typical project, can impede creativity [1]. According to Anthony Vidler [2], architecture and fi lm are interlinked as modernist architecture functioned like a psychologic mechanism, building its subject in time and space just like cinema. It seems that perhaps a lack of experimentation and the growth of a culture of narrow-mindedness have led to a stagnant period in modern architecture. A subtly noticed trend [5] seems to be the placement of a kind of agenda before creativity, and not always the good kind. The existing SUMMARY literature makes the point that translating meaning across visual mediums results is detrimental and in both end products The aim of this work was to discuss potential aspects that losing some if not all of their original nuance. could be implemented from one medium (fi lm) to the other (architecture). The study of some of the most infl uential and innovative director’s oeuvres - Michelangelo Antonioni, Stanley Kubrick, According to Palasmaa [6], design can be improved by Andrei Tarkovsky, and David Lynch - formed the basis of this exploiting and exploring the concept of existential space, using research. fi lm as a medium to poeticise the existential experience of space because fi lm projects a broad range of human emotions.
    [Show full text]
  • Wheeler Winston Dixon
    WHEELER WINSTON DIXON Curriculum Vitae EDUCATION: 1980 - 82 Ph.D. Rutgers University, New Brunswick, NJ Major Focus: 20th Century American and British Literature; Film Studies. 1976 - 80 M.A., M.Phil. Rutgers University, New Brunswick, NJ 1969 - 72 A.B. Livingston College, New Brunswick, NJ APPOINTMENTS HELD: 2010 – Present Coordinator, Film Studies Program 2003 – 2005 Coordinator, Film Studies Program 2000 – Present James P. Ryan Endowed Professor of Film Studies 1999 – 2003 Chairperson, Film Studies Program; Professor, English, University of Nebraska, Lincoln. 1997 Visiting Professor, Department of Communications, The New School University, New York, Summer, 1997. 1992 - 1998 Chairperson, Film Studies Minor; Professor, English, University of Nebraska, Lincoln. 1988 - 1992 Chairperson, Film Studies Program; Associate Professor, English, University of Nebraska, Lincoln. 1984 - 1988 Assistant Professor, English and Art, University of Nebraska - Lincoln. 1983 Visiting Professor, Film Studies, The New School for Social Research, New York, NY. 1974 - 1984 Instructor, English, Rutgers University, New Brunswick. 1969 - 1972 Instructor, Film Studies, Department of Art, Livingston College. COURSES TAUGHT: 2013 Film History, Film Genre: Action and Suspense, 1960s Outlaw Cinema 2012 Film History, Film Genre, Contemporary World Cinema, Science Fiction 2011 Film History, Film Genre, Film Theory 2010 Film History, Film Genre: The Musical, Noir Films 2009 Film History, Film Genre: The Western, Science Fiction Films 2008 Film History, Film Genre: Classic
    [Show full text]
  • KUROSAWA Player.Bfi.Org.Uk
    OVER 100 YEARS OF JAPANESE CINEMA Watch now on PART 1: KUROSAWA player.bfi.org.uk Watch now on 1 @BFI #BFIJapan OVER 100 YEARS OF JAPANESE CINEMA We have long carried a torch for Japanese film here at the BFI. IN PARTNERSHIP WITH Since the first BFI London Film Festival opened with Akira Kurosawa’s Throne of Blood in 1957, we’ve played a vital role in bringing the cinema of this culturally rich nation to UK audiences through our festivals, seasons, theatrical distribution, books and video publishing. In this major season we spotlight filmmakers who have inspired admiration and With special thanks to: fascination around the world. We begin our story with Akira Kurosawa, and over the coming months we’ll present films from the Golden Age, a focus on Yasujiro Ozu, new wave rebels, the visionary creations of anime, the netherworlds of J-horror, and so much more from archive rarities to contemporary works and cult classics. This landmark season will take place on BFI Player from 11 May onwards, With the kind support of: with new online collections released each month, and we expect to present it Janus Films/The Criterion Collection, Kadokawa Corporation, at BFI Southbank and cinemas nationwide later this year. Kawakita Memorial Film Institute, Kokusai Hoei Co., Ltd, The Japanese Cinema Book, published by BFI & Bloomsbury to coincide Nikkatsu Corporation, Toei Co., Ltd with the season, is out now. Cover artwork: TOKYO STORY ©1953/2011 Shochiku Co., Ltd., OUTRAGE 2010 Courtesy of STUDIOCANAL, AUDITION 1999 © Arrow Films, HARAKIRI ©1962 Shochiku Co., Ltd. Watch now on 2 @BFI #BFIJapan PART 1: KUROSAWA WATCH ON NOW This retrospective collection on BFI Player helps to confirm Kurosawa’s status as one of the small handful of Japanese directors who truly belong to world cinema, writes Alexander Jacoby If Yasujiro Ozu is often called ‘the most Japanese of Japanese directors’, then one could almost identify Akira Kurosawa as the least Japanese of Japanese directors.
    [Show full text]