Even without the still ongoing pandemic, the organization of a sports event such as the Olympics has to be one of the most taxing assignment for any city. Apart from the accommodation of the athletes and the building of the necessary facilities, there is also the question of logistics, which needs to be addressed as soon as possible. Transportation to the events, the athletes and their equipment has to be ensured, otherwise this could shape how a city and its officials are perceived in the outside world, as well as within the country itself, as the Olympics also offer the opportunity for a country to present itself from the most positive side. During the last Olympics in Tokyo, this aspect was organized by Nippon Express, a giant undertaking which was filmed by directors Shinkichi Noda and Toshio Matsumoto, who would go down in the Japanese film industry as one of...
- 9/20/2021
- by Rouven Linnarz
- AsianMoviePulse
Film series sheds new light on dynamic movement in Japanese cinema with a selection of overlooked titles, including newly subtitled 35mm prints
New York, NY (February 27, 2019) – With its inception in the late 1950s and early 1960s, the Japanese New Wave ushered in a postwar generation of politically engaged and artistically adventurous filmmakers that radically transformed the country’s cinema in theory and practice. Looking beyond internationally lauded figures such as Nagisa Oshima and Masahiro Shinoda, The Other Japanese New Wave: Radical Films from 1958-61 aims to reexamine this dynamic moment in Japanese film history with the introduction of work by lesser-known studio directors, auteurs, documentarists and student filmmakers, including newly subtitled rarities imported from Japan never-before-seen in the U.S.
The series launches on April 5 with Kiju Yoshida’s debut feature Good-for-Nothing, introduced by series curator Go Hirasawa. A key figure in the birth of the New Wave at Shochiku,...
New York, NY (February 27, 2019) – With its inception in the late 1950s and early 1960s, the Japanese New Wave ushered in a postwar generation of politically engaged and artistically adventurous filmmakers that radically transformed the country’s cinema in theory and practice. Looking beyond internationally lauded figures such as Nagisa Oshima and Masahiro Shinoda, The Other Japanese New Wave: Radical Films from 1958-61 aims to reexamine this dynamic moment in Japanese film history with the introduction of work by lesser-known studio directors, auteurs, documentarists and student filmmakers, including newly subtitled rarities imported from Japan never-before-seen in the U.S.
The series launches on April 5 with Kiju Yoshida’s debut feature Good-for-Nothing, introduced by series curator Go Hirasawa. A key figure in the birth of the New Wave at Shochiku,...
- 3/1/2019
- by Ina Karpinska
- AsianMoviePulse
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