Why Okinawan traditional performing art Kumi odori was adopt this system. First, I wrote that “Kumi odori which created by Tamagusuku Chokun, takes in the style of Japanese traditional performing arts which is Noh and Kabuki, when he appreciate the performing these in Edo and Satsuma” in before paragraph. As you can see it, I guess Tamagusuku Chokun used the direction of Japanese traditional arts such as Noh and Kabuki for Kumi odori too. As another way of thinking is that a woman in the high position than a man, and a woman is a holy person. In fact, Okinawa has the place where is closed to men exists, for example, Sefha utaki.
Japanese national Kiku Day writes in her 2004 article for the Guardian, "the Japanese are one-dimensional and dehumanized in the movie, serving as an exotic background for Bob and Charlotte 's story" and "the viewer is sledge hammered into laughing at these small, yellow people and their funny ways" (Day). Another Japanese reviewer, Yoshio Tsuchiya, described the portrayal of the Japanese in Lost in Translation as "very stereotypical and discriminative" (Tsuchiya). In the movie, cultural differences between the Japanese and the visiting Americans are highlighted to emphasize the protagonists ' feelings of isolation and loneliness in an unfamiliar and distant city. However, I do agree with the reviewers that this portrayal of the Japanese and the character 's interactions with them did go too far in some instances, such as low jokes made about Japanese accents. Many of the Japanese characters presented in the film are exaggerations meant to serve the plot and character development of the two American protagonists without any depth of their own.
One of the most hilarious scenes of the film takes place in Kaede’s room, where she keeps a picture of Tetsuo’s head in the wall, occasionally writing her opinion of him on it. 4. Anti-Porn (Sion Sono) "Anti-Porn" is quite difficult to describe, since the borders between fantasy and reality, and past and present are almost non-existent. In that fashion, the film starts with Kyoko, a famous novel writer and artist, who wakes up in a studio bursting with yellow color, except the toilet that is vividly red. There is obviously something wrong with her, as she starts to rave about anything that comes to her mind, without actually making sense, like when she shouts “I am a virgin and a whore.” Things become even more frantic when her assistant, Noriko enters the studio.
Unlike most like the tadeonal approaches, that depict Korea as being saved by Japan by propagating its industrialization, this film reverses the roles of this relationship and Korea being depicted as the saviors of Japan. Throughout the film we see that Lady Hideko is essentially being held captive by her Korean Uncle. She essentially thinks she was no purpose of living because of her autocratic uncle. It is only after she meets Sook-hee, a Korean peasan and thief, and falls in love with her that she finds purpose, happiness and freedom. Thus, Can-wook reverses the roles of Korea and Japan, with Japan being depicted as victims and needing saving thorough the character
When each of the sequences ends, Kurosawa uses wideshots to stress the fact and to release the tension. This becomes particularly visible at the end of the film. Furthermore, the quick cutting and the use of telephoto lens stresses the chaotic and claustrophobic feeling the scene emits. Kurosawa has been hailed as" the world's greatest editor," and his prowess in the field is magnificently displayed in this particular scene, which has been hailed as one of cinema's greatest action
Aesthetics A key cultural aspect of the Japanese is their immense appreciation for aesthetics, one of which being mono no aware – a term coined by Japanese scholar Motoori Norinaga in the eighteenth century. It conveys the fleeting beauty in the transience of life through an experience that cannot be pinned down by a single moment or image. This kind of beauty creates an ineffable experience for audiences. Furthermore, according to Kishimoto (1956), “religious values and aesthetics values are not two different things” for the Japanese. In Suzu no Shizuku, when Kaya was conceived and when she was assimilated into the mountain, there were bell-like sounds, which made Yoshirou feel a pang in his heart.
Name: Aninor Ogbemi-Daibo YMCA Baseball Team Reaction Paper. Though this movie was made to portray the life in Korea 110 years ago, it really resonated with me because I found it very similar to life in present-day Nigeria—where I am from. The impoverishment of the people and the clear distinction of social class was all too familiar. Another similarity I observed was the unification of a group of people through sports. This paper aims at addressing those similarities as well as some other occurring factors in the movie I could really relate to or have personally experienced.
The postwar Japanese cinema is regarded as the Golden Age of Japanese cinema. The films produced during that period also underwent a major transition since the start of the war. In the first part of this academic essay, I will touch on the brief history of films produced during the war and how the global, political and industrial development after the war helped to kickstart the film industry into the Golden Age. In addition to that, I will talk on how the change in conditions mentioned above led to the rise of Yasujiro Ozu and Akira Kurosawa, and their filmmaking styles in relation to the postwar period. In the second part of this essay, I will be reflecting on a recent film and how it was inspired by postwar Japanese cinema.
Now that we know the evolution of anime and how it came to be, it is time to look at how has this evolution of the industry affected the Japanese culture. For culture defined as the arts of manifestations of the human intellect, it is easy to see the effect that anime had on Japanese culture in this regard. You see anime everywhere you go in Japan and is one of the main selling points of many products (Geek Spending Power). This advertising, however, is usually directed to a specific group of people. A particular group of people that anime has created.