Sentences with phrase «japanese cinema»

Swedish, Czech, Russian, and Japanese cinema (90 +) photographs.

In conjunction with Tokyo 1955 — 1970: A New Avant - Garde, MoMA presents a 40 - film retrospective of the Art Theatre Guild, the independent film company that radically transformed Japanese cinema by producing and distributing avant - garde and experimental works from the 1960s until the early 1980s.

The background inspiration for these works range from Taaffe's love of classic Japanese cinema to the earliest temples of the Asuka.

An ode to 1960s Japanese cinema, Isle of Dogs, with a star - studded cast, 1,000 puppets and 240 micro sets, is truly a sight for sore eyes.

An ode to 1960s Japanese cinema, Isle of Dogs,...

Located in Japantown, it's a three story shopping center that features Japanese cinema, retail and art all in one place.

Mixed in with obscure VHS movies and mystery double and triple features, this week they're playing, on 35 mm, two classics of mid-century Japanese cinema.

Kenji Mizoguchi is acknowledged as one of the masters of classic Japanese cinema, but his films are rarely exhibited or studied in film courses.

Moshen Makhmalbaf's Kandahar, Alexander Sokurov's Spiritual Voices, Ridley Scott's Black Hawk Down, Will Smith and Michael Mann's Ali, new Japanese cinema, Andrzej Munk, Jean - Luc Godard's In Praise of Love, Nanni Moretti, Gus Van Sant's Gerry

When I first came to Los Angeles I became addicted to Japanese cinema at the Toho La Brea Theater.

Technorati Tags: cole smithey, critical thought, empire of the senses, imperial stout, in the realm of the senses, itunes, japanese cinema, la grande bouffe, mike lacy, nagisa oshima, podcast, smart new media, smuttynose, twitter, youtube

The film is not only one of the most famous films in Japanese cinema, but it also sparked...

Mizoguchi is acknowledged as one of the three great masters of classic Japanese cinema but he has not received the same amount of attention as...

Coming - of - age films form a central part of cinema; especially in Japanese cinema.

The Boy and the Beast is similar in terms of Japanese cinema as well as director Mamoru Hosoda's previous work.

For critically acclaimed Iranian director Abbas Kiarostami, Like Someone In Love is his first cinematic venture in Japanese cinema.

Anderson has made it no secret that Isle of Dogs is his own idiosyncratic salute to the collective works of iconic Japanese filmmaker Akira Kurosawa (Seven Samurai, Rashomon), so the hope is that the movie will also be culturally sensitive in its westernized take on Japanese cinema tropes.

Jumping straight into the style of Japanese cinema and even anime for a bit, Anderson and co-writers Roman Coppola, Jason Schwartzman and Kunichi Nomura take us about two decades into a futuristic Megasaki City, which is a little like Blade Runner meets Seven Samurai.

In the late 90's and early 2000's, Japanese cinema was in vogue among cineasts.

Crosby argues that «scholars of Japanese cinema tend to ignore various aesthetic and cultural influences from other national contexts and instead settle for a potentially misleading form of cultural exceptionalism» (p. 176).

Filed Under: Articles, Berlinale 2017, Film Festivals, Film Reviews Tagged With: Female Directors, Japanese cinema, LGBTQ, Members Only

Lippit dicusses Shindo's placement in the rich history of Japanese cinema.

But other than those films my knowledge of Japanese cinema, and in particular Japanese genre films, hits a roadblock in regards to anything after the 1970s.

There is a long and creative horror tradition in Japanese cinema but Nobuhiko Obayashi's 1977 House is like nothing seen in the genre before or since.

FEMALE PRISONER SCORPION: JAILHOUSE 41 • Newly filmed appreciation by critic Kier - La Janisse • Japanese cinema critic Jasper Sharp looks over the career of Shunya Ito • Designing Scorpion, a new interview with production designer Tadayuki Kuwana • Original Theatrical Trailer and Teaser

My difficulty with Japanese cinema means it's not that high for me yet, but I respect it for its influence alone.

Stay up to date with the latest and best in Japanese cinema.

After 15 years of making the world's go - to source for info on Japanese cinema in English, we're calling it a day.

FEMALE PRISONER SCORPION: # 701's GRUDGE SONG • Newly filmed appreciation by filmmaker Kazuyoshi Kumakiri (Kichiku: Banquet of the Beasts) • Yasuharu Hasebe: Finishing the Series, an archive interview with the director • Japanese cinema critic Jasper Sharp looks over the career of Yasuharu Hasebe • They Call Her Scorpion, a new visual essay by Tom Mes on the film series • Original Theatrical Trailer

2:00 am (17th)-- TCM — Tokyo Story One of my goals in life is to learn to truly appreciate and like Japanese cinema; I'm getting there, having made some breakthroughs with J - horror, anime, Kurosawa, and Mizoguchi, but I'll know I've finally made it, I think, when I can appreciate Yasujiro Ozu.

Japanese cinema expert Donald Richie also offers insightful audio commentary, and Kurosawa's comments about the difficulties of making this film are noted in a booklet that also features the stories that inspired him to make «Rashomon.»

What seems to work in the Japanese cinema just crumbles when seasoned with an American taste.

It's a widely held notion that midcentury Japanese cinema was a breeding ground for visual artists capable of excelling with the large - scale resources of a studio system.

One of the landmarks of 1960s Japanese cinema plays at the Berkeley Art Museum and Pacific Film Archive this week.

J - horror, a millennial revolution in Japanese cinema, can be traced back to Hideo Nakata's 1998 supernatural thriller about a cursed VHS tape that imposes a lot more than late fees on its unlucky viewers.

Yakuza stories within a modern gangster framework are immensely popular in the Japanese cinema, and Paul Schrader, former editor of the American film magazine Cinema, wrote a comprehensive survey of the genre for a Film Comment of about a year ago.

Tracing the lineage of Japanese cinema can either lead from the traditional stage (Noh and Kabuki (as in Ozu, perhaps, or, more recently, Hayao Miyazaki)-RRB-, or it can lead from the American westerns of John Ford, as in Akira Kurosawa's work and, via a more circuitous route, the modern gangster cinema of Takashi Miike and Takeshi Kitano.

This new restoration looks excellent, and the audio commentary by the critic and Japanese cinema expert Tony Rayns elucidates the film's fascinations and curiosities as well as could be imagined.

The audio commentary by the critic and Japanese cinema expert Tony Rayns elucidates the film's fascinations and curiosities as well as could be imagined

I bring this up because, as a novice when it comes to Chinese painting and Chinese movies, not to mention Japanese cinema, I depend on cultural reference points — and priorities for them — that are substantially different from Li's.

Few directors have as precise and recognizable a style as Yasujiro Ozu, sometimes called the father of Japanese cinema.

28m) The legendary classic about four contradictory views of a murder: the film masterpiece that put Kurosawa, and Japanese cinema, on the international map.

Through his personal account of programming and researching Japanese cinema for more than two - and - a-half decades, Nornes raises important questions about the reception of Japanese films in Western film festivals, and the role of Japan as a site where filmmakers from other Asian countries can learn more about Western filmmaking.

Lastly, Nornes is the only contributor who mentions Dudley Andrew, who has been one of the dominant figures in the study of world cinema for many decades, including Japanese cinema.

While the first two chapters of section one dealt with the field of Japanese cinema as one composed around actual films, the other two chapters in this section suggest that the field is one that analyses discourses around cinema culture at large.

This is not a typical scholarly handbook, and will not necessarily provide an overview of the history of Japanese cinema.

Nagisa Oshima, Japanese cinema's foremost iconoclast, is remarkably difficult to pin down.

Looking at the post-war era, both Kwai - Cheung Lo and Sangjoon Lee speculate about the reach of Japanese cinema into East Asia in light of military and colonial aggression.

Moreover, the essay makes a contribution to the question at hand about the definition of Japanese cinema by making an analogy with sparks and circuits, inviting the reader to ask whether Japanese cinema runs through a short circuit of its own, or whether it can ignite other circuits with those cinemas that it interacts with, globally.

Japanese cinema is rich and vibrant.