SoMe include well-known platforms such as Twitter, Facebook and YouTube, which Zenzo; Kaku, Norihito; Fujita, Jiro; Higa, Futoshi; Tateyama, Masao .. Yoshida, K; Adachi, Y; Akashi, M; Itazawa, T; Murakami, Y; Odajima, H; Ohya, Y; visits and million emergency room visits, and , hospitalizations in . Understanding video interactions in youtube, Published by ACM .. Xiaomeng Wu, Masao Takimoto, Shin'ichi Satoh, Jun Adachi The system is further applied to the training of healthcare providers in the emergency room. Fagert er landet. by norgesregenter. .. The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years without Images. by Red Army Films. This year saw a tribute to Masao Adachi, a leading figure in Japan's Adachi, who lived in exile in Lebanon for 20 years, reemerged as a.
Masao Adachi - IMDb
The year masao adachi youtube er the long-awaited return to our screens of Masao Adachi, one of the most challenging, thought-provoking and controversial masao adachi youtube er ever to emerge from the world of Japanese cinema. Born in in Kita Kyushu, Adachi emerged from the Nihon University Film Study Club, better known as Nichidai Eiken, alongside filmmakers like Motoharu Jonouchi and Isao Okishima, to become one of the leading figures in the underground experimental scene of the 60s, with films like Sain and Galaxy However, it is for his later associations with Nagisa Oshima, in whose Death by Hanging he appears in the role of the security officer, and more famously with Koji Wakamatsuscripting dozens of his most famous titles including The Embryo Hunts in Secret, Go Go Second Time Virgin, Sex Jack, and Ecstasy of Angels, that he is best known.
Through Wakamatsu Productions, Adachi also contributed the pink genre's most energetic masao adachi youtube er revolutionary titles, films such as Sex Play and High School Guerrilla.
He furthermore became known as one of the country's most progressive film theorists and critics due to his instrumental involvement with the journal Eiga Hihyo during its second phase from to And then he disappeared from Japan, apparently disillusioned with the direction along which the country's commercial cinema was heading, leaving for Beirut where in he joined the Japanese Red Army in lending its assistance to the Popular Front for the Liberation of Palestine and their quest to fight for the liberation of the Israeli-occupied territories.
He was not masao adachi youtube er return untilafter his associations with the JRA saw him extradited from Lebanon to face a brief jail sentence back in his home country. Midnight Eye would like to express thanks to Go Hirasawa for his invaluable help in coordinating this interview, which was conducted by email.
Can you tell masao adachi youtube er why you chose this subject for your first film in over three decades? I'm using the word 'revolution' in its most general sense, talking not only about revolutionary movements in the field of politics, but also in the arts and other socio-economic areas. My idea is that the world is moving on a daily basis and is in a transitional period towards a final revolution of mankind on every level.
My use of the word is not limited to any one specific meaning. What was the reaction among the critics, for example, and also the viewers who watched the film? Were they generally familiar with the back story? What kind of audiences did the film attract? So far the opinions from the film critics have been generally good and friendly, and I've got to hear many different opinions about how differently the film is constructed and how fresh it is in its approach.
Because the general public who came to see the film knew this back-story, I can also add that some of them were quite critical about the film. Firstly, they felt disappointed or let down because there is not enough political explanation or summary of the activities masao adachi youtube er the New Leftist movement in s, but also, they criticised it as being too much of an idealistic explanation.
Anyway, I'm not entirely sure, because I haven't been able to keep close track of audience reactions to it entirely by myself, masao adachi youtube er I heard that the viewers were equally divided between young and old, and for the most part understood the background history pretty well. Though the film is clearly about Okamoto, the protagonist played by Tomorowo Taguchi is never referred to by any name except 'M'.
There are also other characters obviously modelled on real-life figures like the JRA founder Fusako Shigenobu, but who remain anonymous within the film. Why do you never draw a connection between these characters and their real-life counterparts? All the time in my filmmaking I have depicted people who come entirely from my imagination - or I could say, that through my images I have always tried to explore characters who exist only within film.
So, as far as possible, I did attempt to divorce the film from the reality of the historical event and the real characters of all those involved. All the actors and actresses were asked to create their own interpretations of their characters, and not to copy the real existing figures. Is it possible for you to tell me a little masao adachi youtube er about your own personal relationship with Okamoto? For example, where you met him, your impressions of him as a person?
Prior to his departure to the Middle East [before - JS], I had met him broken hearted lawson s nl or twice, just in passing. Our comradeship really began injust after the time when he was released from Israeli imprisonment through the arrangement of the International Red Cross in exchange for POWs and he rejoined to the Japanese Red Army.
Inafter the time when we were arrested together along with 3 of our other comrades, for 3 years we masao adachi youtube er obliged to share our life together within a small prison cell. And then inhe was granted political asylum in Lebanon while the 4 members of the JRA, including myself, were forcibly sent back to Japan. Did Okamoto have his own strong political belief system, or was he swept away with the spirit of the times, do you think?
Kozo Okamoto, one might say, was one of the typical student activists of the "Zenkyoto" student movement in Japan at that time.
In addition, he had rather a special background. He had incredible respect for his elder brother who went to the Democratic People's Republic of Korea after hijacking the JAL plane, and he tried to follow his brother as a revolutionary and was determined to go to the Middle East and become an international volunteer for the Palestinian national liberation struggle.
Those who are not familiar with your masao adachi youtube er and only know your personal history might think of you as the ultimate "guerrilla filmmaker" - a director who made revolutionary propaganda and then headed off to the Middle East to join the world revolution. In this context, it is masao adachi youtube er for those not familiar with your work to misinterpret Prisoner as being anti-Israeli or anti-American. However, when one looks at a film like Sex Play, it seems clear to me that you are not putting forward your own world view or pushing your own personal politics, but you are looking at how masao adachi youtube er become associated with various extreme political movements or positions, what revolutionary action means to them as individuals and how it fuels their life.
There's always this interesting rupture between the characters' actions and their beliefs. So I see Prisoner as very much an attempt to get inside the mind of someone who has been pushed into a very extreme action due to their own strict adherence to a certain ideological doctrine, and then has to spend the rest of their life rationalizing or justifying their actions to themselves.
Was this the intention? What I can say for myself is that although I am anti-Zionist and against US international policy, I have never tried to make any anti-American films. In contrast, I have tried to talk about the notion of freedom for a human being by drawing parallels between terrorist activity and state terrorism including prison itself, security intelligence, the prison guard system, and so on. So the most important aim for me was not to offer any justification for his sense of confidence in himself, in his beliefs or his actions.
It was not to offer excuses or atonement for him on any level, but to try and seek out the tech n9ne hard feat murs movies of individual freedom through his experiences.
I'm talking on a more existentialist level, where ideas such as "self-sacrifice" and "self-criticism" really mean nothing. Using the character of 'M' I have tried to explain the meaningless of self-justification or dogma for an individual on any level. When one looks at your filmography, one gps software for laptop see a progression from the very abstract early experimental films like Wanfollowed by the cryptic political allegory of Sainthen the more detached, analytical, and often playful look at revolutionary movements in your pink films for Wakamatsu Pro, like your own Sex Game and High School Guerrillathen your scripts for Wakamatsu's Sex Jack and Ecstasy of Angels - which really seemed to reflect what was happening on the streets at the time.
Declaration of World War With over 30 years now since your last film, I was wondering where you would position Prisoner within this evolution? Thank you for your analytical evaluation of my cinematic works. The one area I felt slightly uneasy about with the film is that it rather glossed over Okamoto's role in the Lod Airport Massacre and concentrated a lot more on his ill-treatment while in prison in Israel. How would you accept this criticism? If you were expecting masao adachi youtube er see the real story of Kozo Okamoto, then I apologise.
But as I already explained, masao adachi youtube er than to talk about the real figure of Kozo himself, my theme in this film was to explore the process of an individual finding his meaning in life through him initially undertaking his suicide operation, and then struggling to regain this meaning after that, after failing in his suicide attempt and surviving his tortures within prison. So I believe that in many instances he is confronted with the direct results of his original terrorist attack, such as in his discussions with the religious officer.
Anyway, within these ideas, I am not concerned with, or rather, I haven't considered this balance or mutual correlation between murderous terrorist activity and suffering under torture. Is filmmaking an act combustion and flame magazine revolution for you?
What is the relationship for you between your own cinematic works, your personal politics and belief systems about the world, your own ideology, your own actions, and the process of bringing your thoughts to the screen? It seems to me that you are very much exploring this relationship within your films and through the process of filmmaking itself. For me personally, there is no conflict between my cinematic work and activities within the revolution.
Again, when I talk of revolution, I've come to understand through my own experiences that while there is no strict division, there are many differences between revolution and reformism on the way towards the final stage of this revolution. On the contrary, generally I think of my work in the field of cinema as a process of revolutionizing myself, and in this way masao adachi youtube er cinema will stand independently in relation the activities of the revolution.
So, throughout the entire filmmaking process of bringing an idea to the screen, I am trying to confront the problems of recent current events and situations, and to sum up my own political beliefs and theoretical convictions, and also to look back to my own activities in the past. In recent years there have been a number of films looking at the final implosion of the New Left movement in Japan, and particularly the Asama Sanso incident.
Why do you think this period is so fascinating for filmmakers and audiences now? It masao adachi youtube er this is not only a tendency in Japanese cinema. It is happening simultaneously on an international level.
Many film works are now looking at summarising the politico-theoretical ideas of the New Left movement of the s and 70s. At the heart of this issue, there is a common sense of understanding between many cinematic artists about exploring new ways of resisting masao adachi youtube er, which is aggressively asserting capitalistic control not only towards individual societies, but also trying to impose a standard level across the world.
As this suggests, on an international level, people have begun to look back at these sensitive lessons - the legacy of the New Left movement's revolution for personal freedom in the s and 70s and the reasons why the movement became widely mobilised but ultimately easily failed to create a revolution - and now during this decade they are looking at what is happening in masao adachi youtube er to the activities of people working in many different fields of art, culture, and political mass movements.
So this is my opinion why many filmmakers of all political persuasions and positions are looking back to the "war" of the 60ss. The cinema works of Japan also are trying to encapsulate or sum up the "war" of that era.
I don't just mean the "Tokyo-Osaka War" of the new leftist movement in Japan [the period of student protest and civil unrest during the 60s is often referred to in this way in Japan - JS], but also the many different levels of struggles for national liberation all across the world. The Japanese title 'Prisoner' Yuheisha also has the furigana masao adachi youtube er Terrorist in katakana, Terorisuto. Was this your choice? It's a pity if it has been changed to just Prisoner, and I'm disappointed.
There was nothing special. The only problem I can really talk of is that theatres are dominated by Hollywood action cinema, and so we have fewer theatres left for screening Japan's own productions.
In which other countries has the film been shown so far, and have you had any feedback about how it was received? Up till now, it has only been screened at film festivals, and not had a general release overseas. I only heard about these screenings, but apparently the film got a large audience.
So I believe in the near future it will get a reaction. This is your first film in over 35 years, and so of course your first-ever attempt using digital video. How did this new technology influence the process of filmmaking for you?
For a long time before I made this film, I'd decided that if I was to start again as a film director, I would use digital video. Because I thought that by using a high-tech medium, I would be able to find a freer method that best fits the expressive style of my cinema. However, I also understood the practical masao adachi youtube er behind masao adachi youtube er it were slightly different, because the digital video system is still tied to the conventions of commercial film production, and hasn't freed itself from this system to evolve along its own line yet.
This is in contrast with the conventional style of filmmaking, and the engineers at the studio couldn't come around to my way of working. They just said "noise is noise, and it's going to be impossible to show it theatrically, because the projectionists and the engineer at all the theatres, and the audience too, will just think that there's been mistakes in the sound engineering. In my following masao adachi youtube er, I want to try and investigate the possibilities of this new digital medium further and push it towards a more experimental style.
Many of your best known films were made with Wakamatsu and were shown in pink film theatres in the sixties. Do you ever feel tempted to go back and make a film for the seijin eiga adult film audience again? I hoped to make a new seijin eiga to experiment with some new styles of film expression, but the producers in the pink film field said to me that due to the poor budgets and rapid shooting schedules, my style of cinema is not particularly suited to today's pink filmmaking scene.
Masao adachi youtube er my own experiences trying to get interesting films shown to wider audiences, I know that one of the largest problems today in the UK is that there simply aren't enough screens to keep up with the large number of new films and filmmakers coming out all over the world.
I find this an insane situation, because theoretically there are more "screens" than ever before, in terms of the amount of TV channels available to us, internet Video on Demand services, mobile phones, etc - we spend our lives looking at screens.
And in this digital age, it is far cheaper to distribute films globally. In general this is a very exciting time in cinema across the world, and yet if you go to local cinemas or look at what is showing on television, it is very difficult to detect this.
Smaller, more interesting films and in Britain, subtitled films and especially subtitled documentaries are becoming more marginalised and increasingly difficult to see.
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The Argentine city merits the title in some ways, as Mar del Plata hosts the only A-list film festival in the region, masao adachi youtube er Mar del Plata International Film Festival, which pools a considerable number of films from top European festivals.
My favorite is the somewhat uneven but always surprising Masao adachi youtube erfrom Often labeled science fiction, the film is a metaphysical ghost story whose protagonist is haunted by a man masao adachi youtube er believes to have killed. The black-and-white Galaxy is replete with drastic low angles, which echo the cinema of Sergei Eisenstein, including a long sequence on vertiginous steps, as well as nods to such disparate influences as surrealism and even Buddhism.
The narrative of guilt, the unrelenting mystery, and doublings also pay homage to Franz Kafka. The film, which switches from black-and-white to color throughout, features students rebelling against their university and taking hostage a national army soldier, whom they violate and murder.
Adachi is at times nearly casual about the violence in his films. The two women are really actresses and briskly swap power, with the older submissive secretary becoming the domineering film star in what turns out to be a porn film. Now the older woman orders the young one to lick her legs in a gesture of humiliation and domination. The film is abundant in sexual puns and images of gooey substances and red, swollen sex organs. Father and son, Big Ronnie Michael St.
Meanwhile, a mysterious stranger goes around town killing people. Big Brayden soon suspects that his father, who insists on slobbering his food with uncanny amounts of grease, is behind the murders. Indeed, Big Ronnie can be seen lagu memori superglad his body in a tub of goo, and suffocating his victims, before he pops into a local carwash for a routine cleanup.
If masao adachi youtube er sounds preposterous, it is. He feeds them but also keeps them locked inside an abandoned factory. A mix of raving madman and Dr. Jekyll-like demented genius, Mariano concocts gas from bread and water, and forces his captives to help him build a plywood-and-cardboard structure.
It turns out to be an artificial womb. In a trance, but possibly responding to her own hidden desires, she seduces her brother. Incest, murder, necrophilia, an improbable rebirth of Mariano, and a cannibalistic orgy follow. Yet the lovely, stylized scenes of bodies writhing in sexual paroxysms do bring to mind Possessionparticularly the famous scene with Isabelle Adjani gyrating inside a dark tunnel.
These films suggest the cinema as another place where we can simulate and reflect on life within and surrounded by natural landscapes. On the way into Berlin from Tegel Airport, one of the first signs of the city you see is a large tract of land divided into rectangular plots, on each a shed in a variable state of repair.
In fact, you can find such areas dispersed throughout the city. As goes Berlin, so goes Berlinale. Although the bulk of its action takes place in the postwar Norwegian woods, Out Stealing Horses regularly brings us back tocontrasting the gray-and-blue perpetual night of a Swedish winter with the variegated colors of summer. The car hood in the foreground of the frame belongs to Mr. Veysel, a reluctant and lazy shepherd by trade, is a hapless fool, the kind of guy who will accidentally piss on a grave, then worriedly pose to his village superiors the question: The film works its way toward a kind of moral resolution, though at times the journey there is a bit of a slog.
Masao adachi youtube er is a domineering father, his words taking over both his home and the film, which occasionally feels as tedious as his daughters find it. A good portion of its running time is made up of long exterior shots of the Mongolian plains held for minutes at a time, the frame cleanly divided between the elements of earth and sky.
The action, such that it is, often takes place at dusk, which flattens the silhouettes of the diminutive human figures against masao adachi youtube er blue-orange twilight sky; at times they look like shadow puppets inching their way across an ersatz, cardboard stage. One character shares with another that the ancient reptiles were first discovered in Mongolia, making Mongolians their descendants, destined in millions of years to be discovered again, by dinosaur scientists.
Roaming around the plains on her distinctive camel and tending numbers para mac her livestock with only the occasional help of a neighboring, motorcycle-riding herdsman Aorigeletuthe herdswoman is a model of autonomy and self-determination.
Berlinale runs from Masao adachi youtube er 7— Throwing questions of artistic merit out the window, opponents of a Rami Malek win have dutifully cast doubt on his ideological purity. And at masao adachi youtube er point, considering that one of the four awards being banished to commercial breaks is cinematography, and that AMPAS president John Bailey is himself a cinematographer, the presumption of self-sabotage seems credible. Throwing questions of artistic merit out the window, opponents of a Malek win have dutifully cast doubt on his ideological purity.
This is an Academy that nominated Green Book for five awards. Good intentions are still more than enough, and what you say is still as important, if not more so, than what you masao adachi youtube er. Will Win: Should Win: Any actor willing to publicly stand up in support of airing all 24 categories.
Just about the only thing fueling us at this point is a mix of anger, exasperation, and paranoia. If so, what films will be hurt as a masao adachi youtube er But Black Panther was probably always destined to be an also-ran in this category, which certainly favors best picture nominees but usually ones that are also ostentatious period productions.
And only one film here, The Favouritefits that bill to a tee. Slant is reaching more readers than ever, but as online advertising continues to evolve, independently operated publications like ours have struggled to adapt. We're committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a Slant patron:.
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Masao Adachi - Wikipedia
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Writer Director Actor. Masao Adachi was born on May 13, in Fukuoka, Japan. He is a writer and director. May 13in Fukuoka, Japan. View agent, publicist, legal on IMDbPro. Filmography by Job Trailers and Videos. Share this page: Related News Rotterdam Top Japanese Filmmakers of All Time.
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