Podcasts about hamaguchi

Last time we spoke about Operation Chahar. In the turbulent year of 1935, tensions surged in North China as the Kwantung Army defied Tokyo's orders, encroaching deeper into Chahar province. This period was marked by widespread anti-Japanese sentiments, fueled by local revolts and the assassination of pro-Japanese figures, which infuriated Japanese authorities. On May 20, the Kwantung Army launched an offensive against a bandit group led by Sun Yungqin, seeking to exert control over the demilitarized regions established by earlier agreements. Their swift victory forced the resignation of local officials opposing Japanese interests. As chaos escalated, the Chinese government, under pressure to appease Japan, dismantled anti-Japanese factions and dismissed key leaders. The climax in this saga came with the signing of the He-Umezu Agreement, stripping China of authority in Hubei and Chahar, signaling Japan's increasing dominance and setting the stage for further exploitation of the region.   #150 The February 26 Incident Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. While this podcast is supposed to be given through the Chinese perspective, I apologize but yet again I need to jump over to the Japanese side. You see, a very pivotal moment during the Showa era would occur in the year of 1936. I think it's crucial to understand it, and the underlying issues of it, to better understand what we will be stuck in for the unforeseeable future, the Second Sino-Japanese War. I've briefly mentioned the two factions within the Japanese military at this time, but now I'd really like to jump into them, and a major incident that made them collide. In the aftermath of WW1, 2 prominent factions emerged during this tumultuous period: the Kodoha, or Imperial Way Faction, and the Toseiha, or Control Faction. Each faction represented distinct visions for Japan's future, deeply influencing the nation's course leading up to World War II. The Kodoha rose to prominence in the 1920s, driven by a fervent belief in Japan's divine destiny and its right to expand its imperial reach across Asia. This faction was characterized by its adherence to traditional Japanese values, rooted in the samurai ethos. They viewed the Emperor as the embodiment of Japan's spirit and sought to return to the moral foundations they believed had been eroded by “Western influence”. The Kodoha was often critical of the West, perceiving the encroachment of Western thought and culture as a threat to Japan's unique identity. Their ideology emphasized a robust military force, advocating for aggressive campaigns in regions like Manchuria and China to assert Japan's dominance. Contrasting sharply with the Kodoha, the Toseiha began to emerge as a more dominant political force in the late 1930s. The Toseiha embraced a pragmatic approach, advocating for a disciplined military that could engage effectively with the complexities of modern warfare. They recognized the importance of retaining some traditional values while also integrating Western military techniques. Rather than rejecting Western influence entirely, the Toseiha believed in adapting to global shifts to ensure Japan's strength and security. The Toseiha's moderation extended to their governance strategies, as they prioritized political stability and control over radical ideology. They saw this approach as crucial for creating a robust state capable of managing Japan's expansionist ambitions without provoking the backlash that Kodoha tactics elicited. Their more calculated approach to military expansion included securing partnerships and pursuing diplomatic solutions alongside military action, thereby presenting a less confrontational image to the world. Now after Manchuria was seized and Manchukuo was ushered in, many in the Japanese military saw a crisis emerge, that required a “showa restoration' to solve. Both factions aimed to create military dictatorships under the emperor. The Kodoha saw the USSR as the number one threat to Japan and advocated an invasion of them, aka the Hokushin-ron doctrine, but the Toseiha faction prioritized a national defense state built on the idea they must build Japans industrial capabilities to face multiple enemies in the future. What really separated the two, was the Kodoha sought to use a violent coup d'etat to make ends meet, whereas the Toseiha were unwilling to go so far. The Kodoha faction was made up mostly of junior and youthful officers, typically country boys as we would call them. These were young men whose families were not the blue bloods, farmer types. They viewed the dramatic changes of Japan in light of their own family experiences, many were impoverished by the dramatic changes. A very specific thing these Kodoha boys hated were the Zaibatsu. The Zaibatsu were large Japanese business conglomerates, primarily active from the Meiji period until WW2. They combined various industries, including banking, manufacturing, and trading. Prominent examples included Mitsubishi and Sumitomo. The reason they hated the Zaibatsu was because they believed they were influenced by western thought and that they super succeeded the authority of the emperor. More or less you can think of it as “we hate the fat cats who are really running things”.   Now the Toseiha faction were willing to work with the Zaibatsu to make Japan stronger. Basically they believed them to just be a necessary evil, you had to play ball to get things rolling. Random note, Hirohito's brother Prince Chichibu sympathized with the Kodoha faction and repeatedly counseled his brother that he should implement direct imperial rule even if it meant suspending the constitution, aka a show restoration. Hirohito believed his brother who was active in the IJA at the time was being radicalized. Now I cant go through the entire history of it, but this time period is known as the “government by assassination” period for Japan. Military leaders in the IJA, IJN and from within the Kodoha and Toseiha factions kept assassinating politicians and senior officers to push envelopes forward. Stating all of that, I now want to talk about the February 26th incident and I will add I am using a specific source, simply because it's my favorite. That is Herbert P Bix's Hirohito and the Making of Modern Japan. In late 1934, several officers from the Imperial Way faction at the Army Cadet School were arrested for plotting a coup. Although there were no immediate repercussions, the following year, two of the same Kodoha officers, named Isobe Asaichi and Muranaka Takaji were arrested again for distributing a document accusing Toseiha faction officers, like Major General Nagata Tetsuzan, of previously drafting coup plans against the government. This time, the army's upper echelons responded firmly, condemning Isobe and Muranaka's accusations as acts of disloyalty, resulting in both officers losing their commissions. Meanwhile, other Imperial Way officers sought retaliation against Nagata, who was rumored to be planning a major purge to eliminate factionalism within the army. Tatsukichi Minobe was a Japanese statesman and scholar of constitutional law and in the 1930s he began a movement bringing up the very real issue with the Meiji constitution in relation to the role of the emperor. In August 1935, amid a populist movement denouncing Minobe's interpretation of the constitution, Lt colonel Aizawa Saburo from Kodoha faction entered Nagata's office and fatally attacked him with his katana. This marked a significant escalation in the military struggle over state reform and the push for increased military funding, which was intertwined with the movement against Minobe. Meanwhile anti- Prime Minister Okada factions within the army, continuing to use slogans like “kokutai clarification” and “denounce the organ theory,” intensified their attacks on the emperor's advisers and hereditary peers. Senior generals from the Kodoha faction arranged a public court-martial for Aizawa, held by the 1st Division, a group heavily populated by Kodoha officers based in Tokyo. When Aizawa's trial commenced on January 12, 1936, his defense team transformed it into an emotional condemnation of the Okada cabinet, the court entourage, and Minobe's constitutional theories. This strategy garnered support across the nation, even reaching unexpected places like the imperial palace, where Dowager Empress Teimei Kogo, a staunch rightist, expressed sympathy for Aizawa. However, before the trial could progress, a military mutiny disrupted proceedings in the capital. Shockwaves rippled through the army after Army Minister Hayashi dismissed Kodoha member General Mazaki from his position overseeing military education and ordered the transfer of the 1st Division to Manchuria, which ignited the largest army uprising in modern Japanese history. The uprising was orchestrated through a series of meetings held from February 18 to 22 by key individuals including Nishida, Yasuhide Kurihara, Teruzō Andō, Hisashi Kōno, Takaji Muranaka, and Asaichi Isobe. Their plan was relatively straightforward: the officers would assassinate the most prominent adversaries of the kokutai, seize control of the administrative center of the capital and the Imperial Palace, and present their demands, which included the dismissal of certain officials and the establishment of a new cabinet led by Mazaki. They did not establish long-term goals, believing that those should be determined by the Emperor. However, it is suspected that they were prepared to replace Hirohito with Prince Chichibu if necessary. The young Kodoha officers felt they had at least implicit support from several influential Imperial Japanese Army officers after making informal inquiries. This group included figures such as Araki, Minister of War Yoshiyuki Kawashima, Jinzaburō Mazaki, Tomoyuki Yamashita, Kanji Ishiwara, Shigeru Honjō, as well as their immediate superiors, Kōhei Kashii and Takeo Hori. Later, Kawashima's successor as Minister of War remarked that if all the officers who had endorsed the rebellion were forced to resign, there would not have been enough high-ranking officers left to replace them. To articulate their intentions and grievances, the young officers prepared a document titled "Manifesto of the Uprising" “Kekki Shuisho”, which they intended to present to the Emperor. Although the document was authored by Muranaka, it was written under the name of Shirō Nonaka, the highest-ranking officer involved in the plot. The document aligned with Kokutai Genri-ha ideals, criticizing the genrō, political leaders, military factions, zaibatsu, bureaucrats, and political parties for jeopardizing the kokutai with their selfishness and disregard for the Emperor, and emphasized the need for direct action: “Now, as we face immense foreign and domestic challenges, if we do not eliminate the disloyal and unjust who threaten the kokutai, if we do not remove the villains obstructing the Emperor's authority and hindering the Restoration, the Imperial vision for our nation will come to naught [...] Our duty is to purge the malevolent ministers and military factions surrounding the Emperor and eradicate their influence; we shall fulfill this mission.” Seven targets were selected for assassination for "threatening the kokutai". Keisuke Okada served as Prime Minister, where he notably advocated for the London Naval Treaty and supported the "organ theory" of the kokutai. His actions reflect a commitment to international agreements and specific ideological principles at the time. Saionji Kinmochi, a Genrō and former Prime Minister, also supported the London Naval Treaty. However, his influence extended further, as he played a role in prompting the Emperor to establish inappropriate cabinets, impacting political stability. Makino Nobuaki, the former Lord Keeper of the Privy Seal and Foreign Minister, was another key figure who supported the London Naval Treaty. He notably prevented Prince Fushimi from voicing protests to the Emperor during this period, and he established a court faction in collaboration with Saitō, further entrenching political alliances. In his capacity as Grand Chamberlain, Kantarō Suzuki supported the London Naval Treaty but faced criticism for "obstructing the Imperial virtue," suggesting tensions between political decisions and traditional values. Saitō Makoto, who served as Lord Keeper of the Privy Seal and former Prime Minister, was involved in advocating for the London Naval Treaty and played a significant role in Mazaki's dismissal. He, too, formed a court faction with Makino, indicating the intricacies of court politics. Takahashi Korekiyo, as Finance Minister and former Prime Minister, engaged in party politics with the aim of diminishing military influence. His approach was focused on maintaining the existing economic structure amid the shifting political landscape. Finally, Jōtarō Watanabe, who replaced Mazaki as Inspector General of Military Education, supported the "organ theory" of the kokutai yet faced criticism for refusing to resign, despite being considered unsuitable for his position. On the night of February 25, Tokyo experienced a heavy snowfall, which uplifted the rebel officers as it evoked memories of the 1860 Sakuradamon Incident. During this event, political activists known as shishi assassinated Ii Naosuke, the chief advisor to the Shōgun, in the name of the Emperor. The rebel forces, organized into six groups, began mobilizing their troops and departing from their barracks between 3:30 and 4:00 AM. At 5:00 AM, they launched simultaneous attacks on key targets, including Okada, Takahashi, Suzuki, Saito, the Ministry of War, and the headquarters of the Tokyo Metropolitan Police. At around five o'clock on the morning of February 26, 1936, a rebellion erupted, fueled by the long-standing tensions surrounding the kokutai issues that had plagued 1935. Twenty-two junior officers led over 1,400 armed soldiers and non-commissioned officers from three regiments of the 1st Division and an infantry unit of the Imperial Guards in a mutiny in snow-covered Tokyo. The attack on Okada involved a contingent of 280 men from the 1st Infantry Regiment, commanded by 1st Lieutenant Yasuhide Kurihara. The troops encircled the Prime Minister's Residence and compelled its guards to open the gates. Upon entering the compound, they attempted to locate Prime Minister Okada but were met with gunfire from four policemen stationed there. All four policemen were killed, wounding six rebel soldiers in the process. However, the shots served as a warning for Okada, prompting his brother-in-law, Colonel Denzō Matsuo, to help him find refuge. Matsuo, who closely resembled Okada, was eventually discovered by the soldiers and killed. After comparing Matsuo's wounded face to a photograph of the prime minister, the attackers mistakenly believed they had accomplished their mission. Okada managed to escape the following day, but this information was kept confidential, and he did not play any further role in the events. After Matsuo's death, Kurihara's men took up guard positions around the compound, reinforced by sixty soldiers from the 3rd Imperial Guard. In another key operation, Captain Kiyosada Kōda led a group of 160 men to seize control of the Minister of War's residence, the Ministry of War, and the General Staff Office. Upon entering the Minister's residence at 6:30 AM, they demanded to see Minister Kawashima. Once admitted, they read their manifesto aloud and presented a document detailing several demands, including: A prompt resolution to the situation that would further "advance the cause of the Restoration." A call to prevent the use of force against the Righteous Army. The arrest of Kazushige Ugaki (Governor-General of Korea), Jirō Minami (commander of the Kwantung Army), Kuniaki Koiso (commander of the Korean Army), and Yoshitsugu Tatekawa for their roles in undermining military command. The immediate dismissal of Lieutenant Colonel Akira Mutō, Colonel Hiroshi Nemoto, and Major Tadashi Katakura from the Imperial Japanese Army for promoting "factionalism." The appointment of Araki as the new commander of the Kwantung Army. Ugaki, who served as Minister of War during two separate terms, had overseen significant reductions and modernization efforts within the army. He had also failed to support the March Incident plotters, who had hoped to install him as Prime Minister. Minami, Mutō, Nemoto, and Katakura were all influential members of the Tōsei-ha faction; Katakura had been partly responsible for reporting on the Military Academy Incident. Later that morning, Isobe encountered Katakura outside the Ministry of War and shot him non-fatally in the head. During this tumultuous period, several officers sympathetic to the rebels, including General Mazaki, General Tomoyuki Yamashita, and General Ryū Saitō, joined the uprising. Saitō praised the young officers' spirit and encouraged Kawashima to accept their demands. Shortly before 9:00 am, Kawashima indicated he needed to speak with the Emperor and left for the Imperial Palace. Meanwhile, Captain Hisashi Kōno led a team of seven, comprised mostly of civilians, to attack Makino Nobuaki, who was staying at Kōfūsō, part of the ryokan Itōya in Yugawara, Kanagawa Prefecture, with his family. Arriving at 5:45 am, they stationed two men outside while entering the inn with weapons drawn. Inside, policemen opened fire, leading to a lengthy exchange of gunfire. A policeman managed to alert Makino and his party of the danger, guiding them to a rear exit. Although the assassins fired at the escaping group, Makino successfully evaded capture. Kōno sustained a gunshot wound to the chest, and one policeman, Yoshitaka Minagawa, was killed. As Kōno was evacuated from the scene, the assailants set fire to the building. Hearing a gunshot, Kōno assumed that Makino had shot himself inside. After his recovery at a nearby military hospital, Kōno and his team were arrested by military police. Around 10:00 am, Kurihara and Nakahashi loaded a fleet of three trucks with sixty men and drove from the Prime Minister's Residence to the offices of the Asahi Shimbun, a significant liberal newspaper. They stormed the building, ordering the evacuation of employees and declaring their actions as "divine retribution for being an un-Japanese newspaper." The rebels then overturned and scattered the newspaper's type trays, containing 4,000 different characters, temporarily halting its publication. Following this attack, the men distributed copies of the uprising's manifesto to nearby newspapers before returning to the Prime Minister's Residence. On another front, 1st Lieutenant Motoaki Nakahashi of the 3rd Imperial Guard gathered 135 men and, under the pretext of paying respects at Yasukuni Shrine, marched to Takahashi Korekiyo's residence. There, he divided his forces, sending one group to attack while the other remained to guard the entrance. After breaking into the compound, Nakahashi and Lieutenant Kanji Nakajima found Takahashi in bed, where Nakahashi shot him while Nakajima delivered a fatal sword strike. Takahashi died without waking. Once his target was eliminated, Nakahashi regrouped with the soldiers and proceeded to the Imperial Palace, aiming to secure it. Entering through the western Hanzō Gate at 6:00 am, Nakahashi informed Major Kentarō Honma, the palace guard commander, that he had been dispatched to reinforce the gates due to earlier attacks. Honma, already aware of the uprisings, accepted Nakahashi's arrival. He was assigned to help secure the Sakashita Gate, the primary entrance to the Emperor's residence. Nakahashi planned to signal nearby rebel troops at police headquarters once he controlled access to the Emperor. However, he struggled to contact his allies, and by 8:00 am, Honma learned of his involvement in the uprising and ordered him, at gunpoint, to vacate the palace grounds. Nakahashi complied and returned to join Kurihara at the Prime Minister's Residence, while his soldiers remained at the gate until relieved later that day, preventing their inclusion in the government's official count of rebel forces. Elsewhere, 1st Lieutenant Naoshi Sakai led a detachment of 120 men from the 3rd Infantry Regiment to Saitō Makoto's home in Yotsuya. After surrounding the policemen on guard, five soldiers entered the residence and found Saitō and his wife, Haruko, in their bedroom. They shot Saitō dead, prompting Haruko to plead for her life, saying, "Please kill me instead!" While they pulled her away, she was unwittingly wounded by stray gunfire. Following Saitō's assassination, two officers directed another group to target General Watanabe, while the remaining men moved to strategically position themselves northeast of the Ministry of War. In Kōjimachi, Captain Teruzō Andō commanded 200 men from the 3rd Infantry Regiment to assault Suzuki's residence across from the Imperial Palace. After disarming the police on duty, they located Suzuki in his bedroom and shot him twice. When Andō moved to deliver the coup de grâce with his sword, Suzuki's wife implored to be allowed to do it herself, believing her husband to be fatally wounded. Andō obliged and, apologizing for the act, explained it was for the nation's sake. After saluting Suzuki, the soldiers left to guard the Miyakezaka junction north of the Ministry of War. Following the assault on Saitō, a party of twenty men, led by 2nd Lieutenants Tarō Takahashi and Yutaka Yasuda, headed to Watanabe's residence in Ogikubo after 7:00 AM. Despite the two-hour delay since previous attacks, no measures had been taken to alert Watanabe. As they attempted to storm the front entrance, military police inside opened fire, wounding Yasuda and another soldier. The troops then gained entry through the rear, confronting Watanabe's wife outside their bedroom. After shoving her aside, they found Watanabe using a futon as cover. He opened fire, prompting one soldier to retaliate with a light machine gun. Takahashi then rushed in and fatally stabbed Watanabe, witnessed by his nine-year-old daughter, Kazuko, who hid nearby. The soldiers departed, taking their wounded to a hospital before positioning themselves in northern Nagatachō. In a significant move, Captain Shirō Nonaka led nearly a third of the rebel forces, comprising 500 men from the 3rd Infantry Regiment, to assault the Tokyo Metropolitan Police headquarters. Their objective was to secure communication equipment and prevent dispatch of the police's Emergency Service Unit. Meeting no resistance, they quickly occupied the building, possibly due to a strategic decision to leave the situation in the military's hands. After securing the police headquarters, 2nd Lieutenant Kinjirō Suzuki led a small group to attack Fumio Gotō's residence, the Home Minister's, but found that Gotō was not home, thus allowing him to escape. This attack appeared to result from Suzuki's independent decision, rather than a coordinated effort among the officers. Despite all of these actions, the Kodoha boys had failed to secure the Sakashita Gate to the palace, which allowed the palace to maintain communication with the outside world, and they neglected to address potential naval interventions. At the Yokosuka naval base, Rear Adm. Yonai Mitsumasa and his chief of staff, Inoue Shigeyoshi, positioned marines to defend the Navy Ministry and prepared warships in Tokyo Bay to suppress the rebellion. By the morning of February 28, after unsuccessful negotiations through sympathetic officers at army headquarters, the commander under martial law transmitted an imperial order to disperse. Most troops returned to their barracks, one officer committed suicide, and the remaining leaders surrendered, resulting in the uprising ending with minimal further violence. Nevertheless, martial law in Tokyo continued for nearly five months. The rebel officers had initially planned for General Kawashima, a staunch ally of the Kodoha, to relay their intentions to the emperor, who they assumed would issue a decree for a “Showa restoration.” Despite their radical objectives of overthrowing the political order, the mutineers, like other military and civilian extremists of the 1930s, sought to operate within the imperial framework and maintain the kokutai. They believed the emperor was under the control of his advisers and lacked a genuine will of his own. Once the Lord Keeper of the Privy Seal and the Grand Chamberlain were removed, they expected the emperor to appoint General Mazaki as prime minister, a leader they believed would reinforce the military and effectively address the China issue. At the onset of the insurrection, they had a real chance of success. The Tokyo military police commander, General Kashii Kohei, sympathized with their cause, and the emperor's chief aide, General Honjo, was related to rebel officer Capain Yamaguchi Ichitaro. Support for the mutineers was present at military bases nationwide. Historian Hata Ikuhiko notes that the rebels contacted General Honjo by both phone and written message before attacking the Okada cabinet. As the first in the imperial entourage to learn of the mutiny, Honjo could have warned the intended targets but chose not to do so. By the time he arrived at court at 6:00 am. on the 26th, key advisors like Chief Secretary Kido, Imperial Household Minister Yuasa Kurahei, and Vice Grand Chamberlain Hirohata Tadakata were already aware of the potential danger. Suzuki was murdered, and the emperor was deeply affected, awakening to the news at 5:40 am from the chamberlain on night duty, Kanroji Osanaga. He learned that his old ministers had been attacked and a coup was underway. Upon receiving this information, Hirohito resolved to suppress the uprising. He was outraged by the killing of his ministers and feared that the rebels might use his brother, Prince Chichibu, to force him to abdicate. He donned his army uniform and summoned Honjo, ordering him to “end it immediately and turn this misfortune into a blessing.” Hirohito adopted a strategy proposed by Kido, who had acted swiftly earlier that morning, instructing Honjo to assess the Imperial Guard Division's potential actions if the mutineers advanced on the Palace. Kido aimed to prevent the establishment of a new provisional cabinet until the mutiny was fully quelled. At 9:30 am Army Minister Kawashima, who had previously met with one of the rebel officers, arrived at court. He urged the emperor to form a cabinet that would “clarify the kokutai, stabilize national life, and fulfill national defense.” Surprised by Kawashima's tone, Hirohito reprimanded him for not prioritizing the suppression of the mutiny. He also expressed his frustration to Chief of the Navy General Staff Prince Fushimi, dismissing him when he inquired about forming a new cabinet. Later that day, Kawashima met with the Supreme Military Council, consisting mainly of army officers sympathetic to the rebels. The council decided to attempt persuasion before relaying the emperor's orders a move contrary to Hirohito's directive. According to historian Otabe Yuji, an “instruction” was issued to the rebel officers at 10:50 am, acknowledging their motives and suggesting the emperor might show them leniency. This message was communicated to the ringleaders by martial law commander General Kashii. That evening, when members of the Okada cabinet came to submit their resignations, Hirohito insisted they remain in power until the mutiny was resolved. On February 27, the second day of the uprising, Hirohito announced “administrative martial law” based on Article 8 of the Imperial Constitution. This invoked his sovereign powers to address the crisis while freeing him from needing cabinet approval for his actions. Hirohito displayed remarkable energy throughout the subsequent days, sending chamberlains to summon Honjo for updates and threatening to lead the Imperial Guard Division himself when dissatisfied with the reports. Honjo, however, resisted the emperor's demands and exhibited sympathy for the rebels. During the uprising, Hirohito met with Prince Chichibu, who had recently returned from Hirosaki. Their discussions reportedly led Chichibu to distance himself from the rebels. However, rumors of his sympathy for them persisted, leading to concerns about potential conflicts within the imperial family. On the second day, Rear Admiral Yonai and his chief of staff demonstrated their loyalty to Hirohito. By February 29, the fourth day of the uprising, Hirohito had reasserted his authority, troops were returning to their barracks, and most rebel leaders were captured. Seventeen of these leaders were court-martialed and executed in July without legal representation. Shortly after, during the obon festival, Hirohito allegedly instructed a military aide to secure seventeen obon lanterns for the palace. This action, though secret, may have provided him some personal comfort amidst the turmoil. An investigation following the mutiny revealed that the rebels' sense of crisis was amplified by the recent general elections, which had shown an anti-military sentiment among voters. Despite their populist rhetoric, most ringleaders were not motivated by the agricultural depression; their goal was to support the kokutai by advocating for increased military rearmament. During this period, military spending steadily rose from 3.47% of GNP in 1931 to 5.63% in 1936. Intriguingly, the ringleaders and their senior commanders shared a desire for state control over production to mobilize resources fully for total war. While united in this goal, their ideas about how to achieve a “Showa restoration” varied greatly, with some leaders, like Isobe, calling for complete economic consolidation and a return to strong state power. The February mutiny reinforced Hirohito's belief in the constitutional framework that underpinned his military authority. He became increasingly cautious about decisions that could compromise his command and developed closer ties to the army's Control faction, justifying military spending increases. Yet, the memory of the mutiny left him feeling uncertain about the throne's stability. Now you know me, whenever I can bring up Hirohito's involvement in the war related times I gotta do. After WW2, in an apparent effort to downplay his role as supreme commander, Hirohito provided a deliberately distorted account of the February events. “I issued an order at that time for the rebel force to be suppressed. This brings to mind Machida Chuji, the finance minister. He was very worried about the rebellion's adverse effect on the money market and warned me that a panic could occur unless I took firm measures. Therefore I issued a strong command to have [the uprising] put down. As a rule, because a suppression order also involves martial law, military circles, who cannot issue such an order on their own, need the mutual consent of the government. However, at the time, Okada's whereabouts were unknown. As the attitude of the Army Ministry seemed too lenient, I issued a strict order. Following my bitter experiences with the Tanaka cabinet, I had decided always to wait for the opinions of my advisers before making any decision, and not to go against their counsel. Only twice, on this occasion and at the time of the ending of the war, did I positively implement my own ideas. Ishiwara Kanji of the Army General Staff Office also asked me, through military aide Chojiri [Kazumoto], to issue a suppression order. I don't know what sort of a person Ishiwara is, but on this occasion he was correct, even though he had been the instigator of the Manchurian Incident. Further, my chief military aide, Honjo, brought me the plan drafted by Yamashita Hobun, in which Yamashita asked me to please send an examiner because the three leaders of the rebel army were likely to commit suicide. However, I thought that sending an examiner would imply that they had acted according to their moral convictions and were deserving of respect. . . . So I rejected Honjo's proposal, and [instead] issued the order to suppress them. I received no report that generals in charge of military affairs had gone and urged the rebels to surrender.”  On February 26, when Hirohito ordered the immediate suppression of the rebels, his anger was directed not only at the insurgents who had assassinated his closest advisors but also at senior army officers who were indecisive in executing the crackdown. The following day, in addition to his role as Minister of Commerce and Industry, Machida took on the responsibilities of finance minister. Concerns over economic panic and confusion contributed to the emperor's sense of urgency, despite not being the primary motivation for his actions. Hirohito believed that every hour of delay tarnished Japan's international reputation. Since the Manchurian Incident, the emperor had frequently clashed with the military regarding encroachments on his authority, though never about fundamental policy issues. At times, he had managed to assert his political views during policy discussions, similar to his earlier influence under the Hamaguchi cabinet. The February 26 mutiny highlighted to Hirohito and Yuasa his privy seal from March 1936 to June 1940, and the first lord keeper of the privy seal to attend court regularly the necessity of fully exercising the emperor's supreme command whenever the situation demanded it. Even when faced with opposition from Honjo, Hirohito managed to gain support and assert his authority through a decisive approach. His resolution marked the end of a period during which alienated “young officers” attempted to leverage his influence as a reformist figure to challenge a power structure they could not manipulate effectively. However, Hirohito learned how to adeptly manage that establishment in most situations. The decision-making process within the government was characterized by secrecy, indirect communication, vague policy drafting, and information manipulation, creating a landscape of confusion, misunderstanding, and constant intrigue aimed at achieving consensus among elites. This was the modus operandi in Tokyo and a reflection of how the emperor operated. Once again, Hirohito reminded the tightly-knit elite that he was essential to the functioning of the system. On May 4, 1936, during his address at the opening ceremony of the Sixty-ninth Imperial Diet, while Tokyo remained under martial law, Hirohito closed the chapter on the February mutiny. Initially, he contemplated sending a strong message of censure to the military, but after considerable deliberation over three months, he ultimately chose to issue a brief, innocuous statement: “We regret the recent incident that occurred in Tokyo.” The response from his audience of Diet members and military officials was one of startled awe, with some privately expressing disappointment. Once again, at a critical juncture, Hirohito avoided an opportunity to publicly rein in the military through his constitutional role. Nonetheless, due to his behind-the-scenes actions, the drift in domestic policy that had characterized Japan since the Manchurian Incident came to an end. In the following fourteen months, the emperor and his advisors largely aligned with the army and navy's demands for increased military expansion and state-driven industrial development. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. So some very unruly young Japanese officers got the bright idea of forcing a showa restoration by killing all the culprits they believed held their emperor hostage. Little did they know, this event spelt the end of the Kodoha faction and rise of the Toseiha faction. Henceforth the military was even more in charge and would get even more insane.   

SoftBank Pitcher Hamaguchi Undergoes Surgery for Ossification of Yellow Ligament

Theme is: 2024 movies we missed. Despite watching over 500 movies collectively last year, there's always a few that slip through our fingers. Let's remedy that! Amanda watches Hamaguchi's Oscar win follow up EVIL DOES NOT EXIST (2024) and Zac watches time hopping Bonelo film THE BEAST (2024) Follow Blindspotters on Instagram at @blindspotterspod and on Twitter at @blindspotters.

Mes chers auditrices et auditeurs,Ensemble cette année, nous avons prouvé qu'impossible n'était pas français.Nous avons continué de bâtir une émission de progrès, de lutter contre le changement climatique en faisant moins émissions, en continuant aussi de nous battre pour notre présent et notre avenir.Nous avons eu aussi, comme promis il y a un an, des moments de grande fierté. D'abord, nous avons organisé au printemps notre anniversaire, nos 15 ans sur les ondes, aussitôt entrés dans l'Histoire, entrés dans nos mémoires, dans nos cœurs qui ont fait vibrer un pays uni, de Betton à St-Renan, de Nancy à Belfast, et ont montré une émission pleine d'audace, de panache, follement libre.Une émission qui rayonne avec ses soucis techniques, ses émotions, sa générosité, un Stade Rennais Football Club qu'on aurait aimé pouvoir magnifier.Demain, sachons garder le meilleur de ce que nous avons été durant cette année 2024. Unis, déterminés, solidaires et face à chacune des grandes épreuves, face à ce que tant et tant disaient impossible, nous avons réussi parce que nous avons été ensemble.Unis, déterminés et solidaires, nous l'avons aussi été face aux épreuves et aux drames de 2024 : les films de merde, la crise que traversent encore aujourd'hui nos exploitants de cinéma que nous continuerons de protéger et de soutenir, les tensions dans plusieurs de nos territoires et le ralentissement économique mondial.Nous sommes aussi confrontés à l'instabilité de la disponibilité du personnel, elle n'est pas propre à notre émission. Mais cela nous inquiète légitimement. Je dois bien reconnaître ce soir que le salariat a apporté, pour le moment, davantage de divisions du temps de présence que de solutions pour les auditeurs. Mais la lucidité et l'humilité commandent de reconnaître qu'à cette heure, nos décisions ont produit plus d'instabilité que de sérénité et j'en prends toute ma part.Le cinéma actuel ne représente pas néanmoins le pays dans sa diversité, et donc aussi dans ses divisions. Il est pleinement illégitime et dans cette configuration, pas inédite mais démocratique, il  doit savoir dégager des majorités de spectateurs, et notre émission  doit pouvoir tenir un chemin de compromis pour critiquer.Je souhaite que l'année qui s'ouvre soit celle du ressaisissement collectif, qu'elle permette la stabilité, les bons compromis pour prendre les bonnes décisions au service des cinéphiles.Car nous ne pouvons pas nous permettre d'attendre. L'année 2025 doit être une année d'action, une année utile pour vous et pour vous permettre de regarder  mieux. Nous pouvons rendre la vie meilleure en nous mettant d'accord sur quelques sujets simples : faciliter la vie de tous ceux qui travaillent dur et n'ont pas le temps d'aller au cinéma, améliorer la filmologie au quotidien, juger plus vite les œuvres et permettre à chaque famille d'avoir accès à la meilleure connexion par la fibre pour les sites de streaming et de téléchargement.A nous de le faire donc.L'année 2025 doit aussi être une année d'unité, de responsabilité pour bâtir un cinéma plus fort, plus indépendant face aux dérèglements du monde.Les cinémas d'Inde ou d'Amérique du Sud ne sont pas des cinématographies lointaines. Elles nous concernent directement, nous devons en tenir compte.En 2025, la France devra continuer d'investir pour son réarmement cinématographique, pour garantir notre souveraineté, la protection de nos intérêts et la cinéphilie de nos compatriotes.Nous devons lucidement voir que le monde avance plus vite et bouscule nombre de nos certitudes. Ce que nous tenions pour acquis ne l'est plus.Pour que nos enfants vivent mieux que nous, il faut aussi que s'inventent en France et en Europe les cinéastes et les producteurs qui façonneront le monde de demain, notre avenir, notre regard : l'intelligence, les révolutions du medium, de l'énergie, pour ne citer que quelques-uns de ces chantiers.Les cinéphiles doivent en finir avec la naïveté. Dire non aux lois du commerce édictées par d'autres et que nous sommes les seuls à encore respecter, dire non à tout ce qui nous fait dépendre des autres, sans contrepartie et sans préparer notre avenir.A l‘inverse il nous faut le réveil cinéphilique, réveil filmologique, intellectuel, technologique, industriel, réveil sémiologique, ontologique et anarchique. Il faut pour cela aller plus vite, prendre nos décisions plus rapidement, plus fortement en cinéphiles, simplifier nos règles pour nos auditeurs comme nos partenaires de l'édition vidéo.Cela suppose une émission qui continue d'être attractive, qui travaille et innove plus, qui continue de ne pas créer des emplois et qui assure sa croissance en tenant ses finances qui n'existent pas. J'y veillerai.Depuis 16 ans, nous avons réussi à résister aux pires crises, tout en augmentant le chômage, tout en ne réindustrialisant pas et en attirant pas plus les inventions du monde entier.A nous donc, collectivement, de faire, car 2025 imposera l'audace et le sens des décisions.Mes chers cinéphiles, les grandes Emissions sont celles qui, dans les moments de crise, de doute, savent voir loin, se détacher des polémiques du quotidien pour bâtir l'avenir et prendre un temps d'avance.Nous y sommes. C'est pourquoi, en 2025, nous tiendrons le cap. Oui, l'espérance, la prospérité et la paix du quart de siècle qui vient dépendent de nos choix, aujourd'hui.C'est pour cela qu'en 2025 nous continuerons de décider et je vous demanderai aussi de trancher certains de ces sujets déterminants. Car chacun d'entre vous aura un rôle à jouer. Chacun d'entre vous sera nécessaire pour réussir ce projet que je viens rapidement de brosser devant vous.C'est pour cela que je nous souhaite pour 2025 d'être unis, déterminés et fraternels.Très belle, très heureuse année 2025 à vous et à vos proches.Vive En Attendant Godard.Vive le Cinéma.Émission disponible aussi sur le tube :Doc Erwan et El Comandante s'ont allés chez nos meilleurs ennemis tailler le bout de gras sur 2024, 4h30 de propos intolérables vraisemblablement. Partie 1 / Partie 2 / Partie 3El Comandante a vu des films en 2024, il en a aimé plusieurs qui ne sont pas de 2024. Détail chez l'ami Tatum.______PUBLIC SERVICE ANNOUNCEMENT:El Comandante présente son pote Linklater samedi 11/01 à L'Arvor.Le Film du Dimanche Soir, Bloody Sam, Bob, Kris, James, et l'Eternité.______THOMAS « EL COMANDANTE »Top (sans ordre)Furiosa – A Mad Max Saga (George Miller)Riverboom (Claude Baechtold)C'est pas moi (Leos Carax)A son image (Thierry de Peretti)May December (Todd Haynes)Ferrari (Michael Mann)City of Darkness (Soi Cheang)Raayan (Dhanush)Hundred of Beavers (Mike Cheslik)The Goat Life (Blessy Ipe Thomas)The Devil's Bath (Severin Fiala et Veronika Franz)Los Delincuentes (Rodrigo Moreno)Et globalement, plein de bons films ou des projets fascinants (The Bikeriders, Horizon, Rebel Ridge, Kneecap, Here, La Zone d'intérêt, Megalopolis, Vingt dieux, The Outrun)FlopLes derniers hommes (David Oelhoffen)Road House (Doug Liman)Civil War (Alex Garland)Challengers (Luca Guadagnino)Emilia Perez (Jacques Audiard)ER FORCE WAN « LE GRAND TIMONIER »1. Bushman (David Schickele, 1971) 2. Furiosa (George Miller)2. La Zone d'intérêt (Jonathan Glazer)4. Miséricorde (Alain Guiraudie)5. La Vie selon Ann (Joanna Arnow)6. C'est pas moi (Leos Carax)7. The Sweet East (Sean Price Williams)8. Dahomey (Mati Diop)9. Ferrari (Michael Mann)10. Fainéant.e.s (Karim Dridi)11. Apolonia, Apolonia (Lea Glob)12. Viêt and Nam (Truong Minh Quy)Flop:Emilia Perez (Jacques Audiard)DOC ERWANTOP 10 (en fait 12)1- Furiosa – A Mad Max Saga – George Miller2- La Zone d'intérêt – Jonathan Glazer3- City of Darkness – Soi Cheang4- The Bikeriders – Jeff Nichols5- Here – Robert Zemeckis6- Juré n°2 – Clint Eastwood/Good One – India Richardson7- Ferrari – Michael Mann8- Rebel Ridge – Jeremy Saulnier9- Hundred of Beavers – Mike Cheslik10- L'Histoire de Souleymane – Boris Lojkine/Longlegs – Osgood PerkinsFLOP 31- Emilia Perez – Jacques Audiard2- Civil War – Alex Garland3- Godzilla Vs. Kong II – Le Nouvel Empire – Adam WingardTHIBAUT « CARREMENT FLEURET »Sans ordre particulier, 11 entrées :-Vroum vroum : Furiosa, The Bikeriders, Ferrari, L'Histoire de Souleymane-Documentaire : Riefenstahl, Sous un soleil bleu, Man In Black, Portraits fantômes, 20 jours à Mariopol, Bison-DJ Medhi-Napoléon vu par Abel Gance-Spectrum, Hitcher, The Fall, Epouvante sur NY-Riverboom-May December-The Zone Of Interest-Testament : Here, Juré 2-Rebel RidgeCa ne ressemble à rien mais y'a quand même de la qualitay.JB MASSUET1. Here - Les plus belles années de notre vie (Zemeckis)2. Trap (Shyamalan)3. La Zone d'intérêt (Glazer)4. Les Chambres rouges (Plante)5. Furiosa - Une saga Mad Max (Miller)6. Juré n°2 (Eastwood)7. Vice-Versa 2 (Mann)8. Knit's Island (Barbier, L'Helgouac'h, Causse)9. May December (Haynes)10. Vampire humaniste cherche suicidaire consentant (Louis-Seize)11. City of Darkness (Cheang)12. Longlegs (Perkins)Flop :1. The Substance (Fargeat)2. Megalopolis (Coppola)3. Horizon - Une saga américaine (Costner)SIMON DANIELLOU « L'ANCIEN »Top des films distribués en France en 20241. Furiosa : une saga Mad Max (George Miller)2. La Zone d'intérêt (Jonathan Glazer)3. Miséricorde (Alain Guiraudie)4. Trap (M. Night Shyamalan)5. Juré n° 2 (Clint Eastwood)6. Anora (Sean Baker)7. Walk Up (Hong Sang-soo)8. Cent Mille Milliards (Virgil Vernier)9. The Last Stop in Yuma County (Francis Galluppi)10. Noël à Miller's Point (Tyler Taormina)11. Sleep (Jason Yu)12. Voyage à Gaza (Piero Usberti)13. Le Mal n'existe pas (Ryūsuke Hamaguchi)14. Vice-versa 2 (Kelsey Mann)15. Dahomey (Mati Diop)16. Land of Bad (William Eubank)17. Film annonce du film qui n'existera jamais : « Drôles de guerres » (Jean-Luc Godard)18. In Water (Hong Sang-soo)19. The Apprentice (Ali Abbasi)20. Concrete Utopia (Eom Tae-hwa)+ La scène post-générique de Mauvais Sang re-« jouée » par Annette dans C'est pas moi (Leos Carax) ; Gojira (le kaijū) dans Godzilla Minus One (Takashi Yamazaki) et Gojira (le groupe) lors de la cérémonie d'ouverture des JO 2024 ; enfin, deux rappels déjà dans les tops des années précédentes, Au cœur des volcans : Requiem pour Katia et Maurice Krafft (Werner Herzog) et L'Affaire de la mutinerie du Caine (William Friedkin). Flops (aka "j'ai mal à mon film de genre")1. The Substance (Coralie Fargeat)2. MaXXXine (Ti West)3. Civil War (Alex Garland)4. Late Night with the Devil (Colin et Cameron Cairnes)5. Blitz (Steve McQueen)6. Elyas (Florent Emilio-Siri)7. Immaculée (Michael Mohan)8. Exhuma (Jang Jae-hyeon)9. Heretic (Scott Beck et Bryan Woods)10. The Devil's Bath (Veronika Franz et Severin Fiala)SIMON GOSSELIN « LE JEUNE »1. Furiosa, George Miller2. Horizon, Kevin Costner3. Longlegs, Osgood Perkins

Er dette endelig episoden hvor Jacob og Rikke ser en god dansk produktion? I denne uges episode dykker Jacob Ege Hinchely og Rikke Collin ned i tre værker, der udfordrer og fascinerer med deres tematiske dybde. Heretic (2024) Dette psykologiske horrorværk fra Scott Beck og Bryan Woods (A Quiet Place) sætter tro og kontrol i et nervepirrende spil. Sophie Thatcher (Yellowjackets) og Chloe East (The Fabelmans) spiller to Kristne missionærer, som opsøger en tilbagetrukket mand, spillet af Hugh Grant (Notting Hill, Paddington 2, Dungeons & Dragons: Honor Among Thieves). Det, der starter som en samtale om religion, udvikler sig til en dødsensfarlig lektion i magt og manipulation, med dystre indsigter i både troens natur og menneskets mørkeste sider. Filmen, der havde premiere på Toronto International Film Festival, er blevet rost for sit skarpe manuskript og tankevækkende temaer, alt imens Hugh Grant briljerer i en rolle, der skubber til hans tidligere filmiske persona. Hvordan formår Heretic at balancere sin religiøse refleksion med ren gyserintensitet? Hjortestien / Evil Does Not Exist / Aku wa Sonzai Shinai (2024) Den japanske instruktør Ryūsuke Hamaguchi, der fik sit store gennembrud med Drive My Car (2021), leverer endnu en poetisk fortælling med Hjortestien. I centrum står landsbyboeren Takumi, der konfronteres med en storbyvirksomheds planer om at anlægge en luksus-campingplads, som truer både naturen og lokalsamfundet. Hvordan behandler Hamaguchi balancen mellem menneske og miljø, og hvilke moralske dilemmaer stilles publikum overfor? De Bedste År (2024) TV 2's nyeste satsning, De Bedste År, byder på både humor og hjerte. Stephania Potalivo (Sjit Happens, Den som dræber) og Magnus Millang (Klovn Forever, Druk) spiller hovedrollerne i denne fortælling om kærlighed, karriere og komplicerede familierelationer. Serien balancerer skæv komik og rørende øjeblikke. Hvordan formår den at kombinere det absurde med det rørende i en dansk hverdagskontekst? Først tager Jacob og Rikke lytterne med gennem ugens anmeldelser, derefter deler de deres personlige anbefalinger, og til sidst dykker de ned i spændende nyheder fra film- og tv-verdenen. Tusind tak fordi du lytter med!

Als Stadtmenschen müssen wir uns erst einmal Hamaguchis Entschleunigung ausliefern. Im Stil einer kontemplativen Dokumentation beobachten wir für eine ungewohnt lange Zeit, wie Takumi (Hitoshi Omika) Holz sägt, es spaltet, es ans Haus bringt, es aufstapelt, bevor er mit einem Freund Wasser aus einer Quelle schöpft, aufreizend langsam, Schöpflöffel für Schöpflöffel, Wasser, das später für den herausragenden Geschmack von Udon-Nudeln in einem Restaurant sorgen wird. Aber die düstere Musik von Eiko Ishibashi macht von Anfang an klar: Diese Idylle ist bedroht, wir spüren kommende Gefahren. Für Konflikte sorgen dann Vertreter einer Firma, die eine Glampinganlage in die Natur setzen will – und damit die Wasserversorgung des Dorfes beeinträchtigen würde.In den wenigen Dialogszenen werden die verschiedenen Denkweisen klar: Bemühen um Harmonie und Gleichgewicht auf der einen Seite, auch und gerade mit der Natur, und Gewinnstreben auf der anderen Seite. Der Spätkapitalismus kollidiert mit nachhaltigem Handeln. EVIL DOES NOT EXIST lässt Raum für Interpretationen und allegorische Ebenen: Das Bild von den Menschen, die am oberen Flußlauf wohnen und für die Menschen, die am unteren Flußlauf wohnen, Verantwortung übernehmen müssen, verweist auf die Verantwortung der Reichen gegenüber den Armen und auf die Verantwortung der Menschen für kommende Generationen. Aber während in den ruhigen Bildern solche Gedanken im Publikum aufkommen, und Takumi ein verlockendes Angebot bekommt, eskalieren die Konflikte zwischen Stadt und Land, zwischen Gier und Bescheidenheit. Im Podcast direkt nach dem Film müssen wir erst einmal das dramatische Ende verdauen und den Rätseln nachspüren, die Hamaguchi nicht auflöst. Am Mikrofon: Bettina, Johanna und Thomas.Wir haben den Film auf Mubi gesehen. Unser erster Eindruck von DRIVE MY CAR und WHEEL OF FORTUNE AND FANTASY.

Un hombre, su hija, y los habitantes de una tranquila aldea no muy lejos de Tokio son confrontados con la llegada de un proyecto turístico para campamentos lujosos en El mal no existe (Aku wa Sonzai Shinai, 2023), un elegante e hipnótico eco-drama en el que el director Ryūsuke Hamaguchi nos invita a reflexionar sobre la naturaleza del mal, los instintos de supervivencia, y la aplastante conquista capitalista de nuestros entornos. Hosted on Acast. See acast.com/privacy for more information.

En “El mal no existe” conocemos a Takumi, un padre soltero que lidia con el impacto que un ambicioso proyecto inmobiliario puede tener en el pequeño pueblo japonés donde reside. El nuevo largometraje de Ryusuke Hamaguchi (“La rueda de la fortuna y la fantasía”) obtuvo cinco galardones en el Festival de Venecia, incluyendo el Gran Premio del Jurado, así como otros reconocimientos en todo el mundo. Ya disponible en salas de cine independiente del país.

País Japón Dirección Ryûsuke Hamaguchi Guion Ryûsuke Hamaguchi, Takamasa Oe. Relato Corto: Haruki Murakami Reparto Hidetoshi Nishijima, Masaki Okada, Reika Kirishima, Tôko Miura Música Eiko Ishibashi Fotografía Hidetoshi Shinomiya Sinopsis Pese a no ser capaz de recuperarse de un drama personal, Yusuke Kafuku, actor y director de teatro, acepta montar la obra "Tío Vania" en un festival de Hiroshima. Allí, conoce a Misaki, una joven reservada que le han asignado como chófer. A medida que pasan los trayectos, la sinceridad creciente de sus conversaciones les obliga a enfrentarse a su pasado.

Rika Hamaguchi, a descendant of the Yawuru, Bunaba, Bardi, and Jaru people in the Kimberley Region, discovered her passion for dance as a teen. Following her feet, she left Broome and was accepted into the Bangarra Dance Company, performing on the prestigious Sydney Opera House stage.Leaving Broome was challenging for Rika, who had to learn complex routines while managing homesickness. After thirteen years of dancing in Sydney and abroad, she felt a strong desire to return to the Kimberley, drawn by its calm energy, breathtaking beauty, spirituality, and family support.We would like to acknowledge the Aboriginal and Torres Strait Islander people as the traditional custodians of the land and pay respects to Elders past and present. You Moved Where?! is powered bywww.MoveToMore.com.au. Featuring almost 2000 regional towns, MoveTo More connects regionally-curious Australians with their dream country town, job and home! Hosted & Produced by Bec Bignell Produced by Grace RouvrayAudio Production by Jacob Round Hosted on Acast. See acast.com/privacy for more information.

#FinalFantasy #FFVIIR #FF7R With the latest interview from Hamaguchi, it reveals a TON of new information about Final Fantasy 7 Rebirth with its release right around the corner! ▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂ BECOME A SAGE OF THE LODGE: https://anchor.fm/the-landi-lodge/support Follow On Twitch - https://twitch.tv/the_landi_lodge​​​ Follow on Twitter - https://twitter.com/LandiLodge​​​ Follow On Instagram - https://www.instagram.com/the.landi.lodge Follow On Spotify - https://open.spotify.com/show/3cwYtaThE4pE2rjDnF1go4?si=77f7838c66c94552 Join this channel to get access to perks: https://www.youtube.com/channel/UC4Bn89Iye6whFlQ9gzeEWwA/join --- Support this podcast: https://podcasters.spotify.com/pod/show/the-landi-lodge/support

This week we're excited to present a conversation with director Ryûsuke Hamaguchi, lead actor Hitoshi Omika, and composer Eiko Ishibashi from a recent Q&A for Evil Does Not Exist, an NYFF61 Main Slate selection currently playing in our theaters. Get tickets at filmlinc.org/evil Deep in the forest of the small rural village Harasawa, single parent Takumi lives with his young daughter, Hana, and takes care of odd jobs for locals, chopping wood and hauling pristine well water. The overpowering serenity of this untouched land of mountains and lakes, where deer peacefully roam free, is about to be disrupted by the imminent arrival of the Tokyo company Playmode, which is ready to start construction on a glamping site for city tourists—a plan, which Takumi and his neighbors discover, that will have dire consequences for the ecological health and cleanliness of their community. The potent and foreboding new film from Oscar-winning director Ryûsuke Hamaguchi (Drive My Car and Wheel of Fortune and Fantasy, both NYFF59) is a haunting, entirely unexpected cinematic experience that reconstitutes the boundaries of the ecopolitical thriller. Intensified by a rapturous, ominous score by Eiko Ishibashi, this mesmeric journey diverges from country-vs-city themes to straddle the line between the earthy and the metaphysical. An NYFF61 Main Slate selection. A Sideshow/Janus Films release. This conversation was moderated by FLC Vice President of Programming Florence Almozini.

Williams was thrust into the public eye as a kid, when he starred in Everybody Hates Chris. Now, playing a teacher on Abbott Elementary, he strives to make the child actors on set feel comfortable. He spoke with Tonya Mosley about the trauma of fame as a kid, his Crohn's diagnosis, and tuning out online chatter. Justin Chang reviews the Japanese film Evil Does Not Exist, by Drive My Car director Ryûsuke Hamaguchi.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Williams was thrust into the public eye as a kid, when he starred in Everybody Hates Chris. Now, playing a teacher on Abbott Elementary, he strives to make the child actors on set feel comfortable. He spoke with Tonya Mosley about the trauma of fame as a kid, his Crohn's diagnosis, and tuning out online chatter. Justin Chang reviews the Japanese film Evil Does Not Exist, by Drive My Car director Ryûsuke Hamaguchi.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

EVIL DOES NOT EXIST MOVIE REVIEW Director/Writer Ryûsuke Hamaguchi won Global acclaim with the 2022 Oscar winning Best International Feature Film Drive My Car. His first follow up feature parks the car in the garage and takes us up to a secluded mountain paradise. Evil Does Not Exist follows Takumi (Hitoshi Omika) a single father… Read More »Screener Squad: Evil Does Not Exist

EVIL DOES NOT EXIST MOVIE REVIEW Director/Writer Ryûsuke Hamaguchi won Global acclaim with the 2022 Oscar winning Best International Feature Film Drive My Car. His first follow up feature parks the car in the garage and takes us up to a secluded mountain paradise. Evil Does Not Exist follows Takumi (Hitoshi Omika) a single father… Read More »Screener Squad: Evil Does Not Exist

Spätestens seit "Drive my Car" und "Wheel of Fortune and Fantasy" haben viele Ryūsuke Hamaguchi auf der Liste. Sein neuer Film "Evil Does not Exist" hat aber eher verhaltene Kritiken bekommen. Lucas Barwenczik und Tim Lindemann hingegen sind begeistert.

When the Oscar-winning director Ryusuke Hamaguchi set out to make his latest film “Evil Does Not Exist,” the music kind of came before the idea. The film tells the story of a close-knit rural community in Japan and the city folk who have plans to build a glamping site in their hamlet. Hamaguchi joins Tom to tell us how the film was largely inspired by the music of his composer, Eiko Ishibashi.

This week, we're taking a look at Evil Does Not Exist from director Ryûsuke Hamaguchi, along with some other stuff including Infested, Alien, #Manhole, Dolores Claiborne, The Dry, The Beasts, and The Contestant. 0:00 - Intro 0:37 - Evil Does Not Exist review 16:32 - Watchlist 45:41 - New releases

"Evil Does Not Exist" had its world premiere at the 2023 Venice International Film Festival, where it received positive reviews for its direction and writing from Ryūsuke Hamaguchi, and score by Japanese singer-songwriter and musician Eiko Ishibashi. Following their collaboration on the Oscar-winning film, "Drive My Car," the two intended to make a 30-minute short film accompanied by a live score. But as the production got lengthier and the shoot went along, Hamaguchi decided to turn it into a feature film with dialogue, which is the film we have today. Ishibashi was kind enough to sit and talk with us about her latest work which can be listened to below. Please be sure to check out the film, which is now playing in limited release in the U.S. from Sideshow/Janus Films. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

El puente y los días festivos no son excusa para no ir al cine. La cartelera tiene varios títulos que recomendamos. El primero es 'La casa', la adaptación de Álex Montoya de la novela gráfica de Paco Roca con David Verdaguer, Olivia Molina y Óscar de la Fuente, una emocionante historia sobre la memoria, el duelo y la familia. Además, Sydney Sweeney se convierte en una monja gore en 'Immaculate', hay una película sobre María Montessori y una fábula ecologista que firma el japonés Hamaguchi. Repasamos todos los estrenos y también os recomendamos las últimas series. Estamos contentos porque ha vuelto 'Hacks' con su tercera temporada.

Semana con estrenos adelantados, con puente en algunos lugares y con el puño en alto para el día del trabajador. Eso sí, a los cines no llegan pelis obreras. Hay terror y religión en 'Immaculate', la película que protagoniza Sydney Sweeney, la actriz de 'Euphoria', junto al español Álvaro Morte. Tenemos también comedias románticas en plataformas con Anne Hathaway, acción, el nuevo drama de Hamaguchi, el director de 'Drive my car', y una película española preciosa. Es 'La casa', la adaptación de Álex Montoya del cómic de Paco Roca con David Verdaguer. En televisión, atención, charlamos con Bon Jovi de su serie documental, comentamos el fenómeno 'Mi reno de peluche' y recibimos a Hugo Silva, un abogado pícaro en la Marbella de las mafias.

Critique cinéma par François Bégaudeau du film "Le mal n'existe pas" de Ryûsuke Hamaguchi. Dans un village de montagne, une communauté voit sa tranquillité troublée par l'installation près de chez eux d'un site de camping chic. Ce qui inquiète les villageois, ce sont les conséquences écologiques d'un projet précipité par une logique de rentabilité. Date de sortie : 10 avril 2024 © 2024 – Diaphana Distribution Musique : © Eiko Ishibashi / Evil Does Not Exist

Der japanische Regisseur Ryusuke Hamaguchi, einer der erfolgreichsten Filmemacher der letzten Jahre, beschäftigt sich oft mit dem Thema Achtsamkeit gegenüber der Natur. Sein neuer Film erzählt was in einer kleinen, ländlichen Gemeinde passiert,wenn eine Tokioter Talent-Agentur beschließt, genau hier einen gehobenen Campingplatz für ermüdete Großstadtmenschen zu bauen.

durée : 00:47:12 - Le masque et la plume - par : Rebecca Manzoni - Faut-il foncer au cinéma pour aller voir "SOS Fantômes, la menace de glace" de Gil Kenan, "Drive-away Dolls" d'Ethan Coen, "Le mal n'existe pas" de Ryüsuke Hamaguchi, "Rosalie" de Stéphanie di Giusto et "Madame Hoffman" de Sébastien Lifshitz ? - invités : Christophe Bourseiller, Jean-Marc Lalanne, Pierre Murat, Ariane Allard - Christophe Bourseiller : Producteur, animateur et critique de cinéma, Jean-Marc Lalanne : Critique de cinéma et rédacteur en chef du magazine Les Inrocks, Pierre Murat : Rédacteur en chef adjoint de Télérama, Ariane Allard : Critique de cinéma (Causette) - réalisé par : Lilian ALLEAUME

durée : 00:47:11 - Certains l'aiment Fip - A l'occasion de la sortie de sa fable écologique "Le mal n'existe pas", nous avons rencontré le réalisateur japonais de "Contes du hasard" et "Drive my Car" pour une ballade en musique dans sa filmographie.

durée : 00:04:44 - Le cinéma en VO - .

Almost 50 years to the day when ABBA's Waterloo triumphed at Eurovision, ABBA specialist Carl Magnus Palm and Millie Taylor, professor of musical theatre, discuss how the song became such an all-conquering hit.A visit to Harewood House to see a new exhibition, Colours Uncovered, which tells the story of this stately home through the prism of colour. Darren Pih, chief curator and artistic director of the Harewood House Trust and curator and archivist Rebecca Burton, take Nick through the house.Dramatist and screenwriter Trevor Griffiths is remembered by theatre critic Michael Coveney, who was at the first night of his ground-breaking play Comedians, which put Jonathan Pryce on his road to stardom. Griffiths also provided Laurence Olivier with his last stage role. However, working class, left-wing and politically committed, Griffiths preferred writing for television because it allowed him to communicate with millions rather than thousands.The environment and climate change is becoming increasingly popular in mainstream film, TV and fiction. Now Ryûsuke Hamaguchi, director of the 2022 Oscar-winning Japanese movie, Drive My Car, has his own eco-drama, Evil Does Not Exist, in cinemas this month. To discuss that and how climate change is breaking into the mainstream, Nick is joined by Eve Smith, the author of One, and by Greg Mosse, the author of The Coming Storm, both of which feature a near-future world significantly altered by environmental catastrophe.Presenter: Nick Ahad Producer: Ekene Akalawu

Estreia novo filme de Riûsuki Hamaguchi; o derradeiro concerto de Sakamoto em cinema; em exibição o thriller de Michael Winterbottom

Her Perşembe saat 22.00'de Canlı Yayında sinema ve televizyon gündemini konuşuyoruz, ilgimizi çeken konuları tartışıyoruz.00:00 | Giriş02:15 | MHK'nın Kayıtları Sızdı 04:43 | Seçim ve Anketler 11:02 | Haftanın Klasikleri Letterboxd Hesabımızda13:20 | X-Men '97 ve The First Slam Dunk16:15 | Gibi 5. Sezon İlk 3 Bölüm: İlk İzlenim  24:08 | 3 Body Problem: İlk İzlenim  33:28 | Ramy Youssef'in Yeni Stand-up'ı 38:49 | Disney + Logosu Değişti45:46 | Ulysses Çevirmek: Kısa Yorum 43:26 | Tarantino'nun İptal Olan Filminde Detaylar  50:10 | Scorsese'nin Tartışmalı Yapımcılığı 59:16 | Monkey Man'e Müdahale1:05:54 | The Jinx'in 2. Sezonu Geliyor 1:12:06 | Kinds of Kindness'tan İlk Fragman 1:17:36 | NBC Bir Daha Film Çekmeyecek mi? 1:25:38 | Inside Out'dan Yeni Duygu: Nostalji    1:27:27 | Olivia Colman'ın Barbie Açıklaması1:29:28 | Messi'nin Gerçekleştirmek İstediği Hayali Kalmamış!1:31:51 | The Lost Daughter Hakkında1:33:24 | Road House: Kısa Yorum  1:38:30 | Koşan Adam: Tom Cruise 1:43:56 | Ryan Gosling Şirket Kuruyor 1:47:32 | Timothée Chalamet Bob Dylan Oldu1:51:55 | Luca Guadagnino'nun Sürekli Yeni Filmi Açıklanıyor 1:53:17 | Ortadan Kaybolan Yönetmenler 2:00:30 | Cannes'da Remake'ler İçin Platform Açılıyor   2:06:25 | Gelecek Haftanın Klasiği Belli Oldu: After Hours (1985)2:09:31 | Hamaguchi'nin Yeni Filmi Evil Does Not Exist'ten Harika Bir Afiş2:12:20 | Ev Köşesi: Sahip Olmaktan Memnun Olduğumuz Şeyler2:16:16 | Haftanın Klasiği: A Serious Man 

In s3e52 of Platemark, hosts Ann Shafer and Tru Ludwig talk with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol's dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. [Top] Carol Wax (American, born 1953). Eleven Shells, 1982. Mezzotint. 2 ¾ x 5 inches. Courtesy of the artist. First mezzotint I felt comfortable signing and which shows the influence of Hamaguchi. {Bottom] Yozo Hamaguchi (Japanese, 1909–2000). Shells. Mezzotint. John Raphael Smith (British, 1751–1812), after Henry Fuseli (Swiss, 1741–1825). The Weird Sisters (Shakespeare, MacBeth, Act 1, Scene 3), 1785. Mezzotint. Sheet: 18 1/16 x 21 7/8 in. (45.8 x 55.5 cm.). Metropolitan Museum of Art, New York. [Left] John Raphael Smith (British, 1751–1812), after Sir Joshua Reynolds (British, 1723–1792). The Infant Jupiter, 1775. Mezzotint. Plate: 20 x 14 in. New York Public Library, New York. [Right] Valentine Green (British, 1739–1813), after Sir Anthony Van Dyck (Flemish, 1599–1641). The Earl of Danby, 1775. Mezzotint. Sheet: 20 7/8 x 13 7/8 in. Chazen Museum of Art, University of Wisconsin, Madison. Carol Wax. The Mezzotint: History and Technique (2nd Edition). Atglen, PA: Schiffer Publishing, 2023. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm.). Metropolitan Museum of Art, New York. Ludwig von Siegen (German, 1609–after 1676). Amelia Elizabeth Landgravure of Hesse-Kassel, 1642. Mezzotint. Sheet: 16 7/16 x 11 15/16 in. (41.8 x 30.3 cm.). Metropolitan Museum of Art, New York. Prince Rupert (German, 1619–1682). Head of the Executioner, 1662. Mezzotint. Cooper Hewitt, Smithsonian Institution, New York. Theodor Caspar von Fürstenburg (German, 1615–1675). Salomé, 1656–75. Mezzotint. 191 x 149 mm. British Museum, London. David Lucas (British, 1802–1881), after John Constable (British, 1776–1837). The Rainbow, Salisbury Cathedral, 1855. Mezzotint. Sheet: 24 ¼ x 28 ¼ in. (61.5 x 71.7 cm.). Christie's. Thomas Frye (British, 1710/11–1762). Head of a Man Wearing a Turban, 1760. Mezzotint. Plate: 19 7/8 × 13 15/16 in. (50.5 × 35.4 cm.); sheet: 23 3/8 × 16 15/16 in. (59.4 × 43 cm.). Metropolitan Museum of Art, New York. Valentine Green (British, 1739–1813), after Joseph Wright of Derby (British, 1734–1797). A Philosopher Shewing an Experiment on the Air Pump, 1769. Mezzotint. Plate: 19 × 23 in. (48.3 × 58.4 cm.). Sheet: 19 7/8 × 25 5/8 in. (50.5 × 65.1 cm.). Metropolitan Museum of Art, New York. Joseph Pennell (American, 1857–1926). Hail America, 1908. Mezzotint. Plate: 8 7/16 × 14 11/16 in. (21.5 × 37.3 cm.); sheet: 9 7/8 × 15 3/4 in. (25.1 × 40 cm.). Metropolitan Museum of Art, New York. Reynold Weidenaar (American, 1915–1985). The Bridge and the Storm, Mackinac Straits, 1957. Mezzotint. Sheet: 19 5/8 x 15 ½ in. Richard and Jane Manoogian Mackinac Art Museum, Mackinac. Mario Avati (French, 1921–2009). Le Goût acide du jaune citron, 1982. Mezzotint. 29 x 37.7 cm. Fitch Febvrel Gallery. Yozo Hamaguchi (Japanese, 1909–2000). The Three Lemons, 1956. Color mezzotint. Cleveland Museum of Art, Cleveland. Art Werger (American, born 1955). Clarity, 2021. Mezzotint. 24 x 36 in. Courtesy of the artist. Craig McPherson (American, born 1948). Memento Mori, 2013. Mezzotint. 13 5/8 x 16 ½ in. Courtesy of the artist. Judith Rothchild (American, born 1950). Le nid, 2005. Mezzotint. 7 13/16 x 11 5/8 in. Annex Galleries, Santa Rosa. Jacob Crook (American, born 1985). Nightrise II, 2019. Mezzotint. 8 ½ x 11 in. Courtesy of the artist. Julie Niskanen (American, born 1983). Sanctuary, 2007. Mezzotint. Courtesy of the artist. Charles Ritchie (American, born 1954). House II, 2012–19. Mezzotint. Plate: 6 x 3 7/8 in.; sheet: 13 ½ x 10 in. Courtesy of the artist. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Norham Castle on the Tweed (Liber Studiorum, part XII, plate 57), 1816. Etching and mezzotint. Plate: 7 x 10 5/16 in. (17.8 x 26.2 cm.); sheet: 8 1/4 x 11 1/2 in. (21 x 29.2 cm.). Metropolitan Museum of Art, New York. Frank Short (British, 1857–1945), after J.M.W. Turner (British, 1775–1851). Liber Studiorum—Frontispiece, 1885. Etching and mezzotint. Plate: 124 x 185 mm. Tate, London.   EXTRA IMAGES Carol Wax (American, born 1953). Type Face, 2002. Mezzotint. 9 ¼ x 9 ¼ inches. Courtesy of the artist. An example of (perhaps more than any other) anthropomorphizing subjects and the use of modulating, repeating patterns to suggest animation, as well as the humor and humanity I see in manufactured objects. Carol Wax (American, born 1953). Sew What, 2022. Mezzotint. 20 x 12 inches. Courtesy of the artist. This was printed from two plates: a black-and-white key plate rocked with an 85-gauge rocker and a color plate ground selectively with roulettes and wiped selectively. These images demonstrate the dialogue between my current work in painting and mezzotint. [Left] Carol Wax (American, born 1953). Pipe Dream, 2003. Mezzotint and engraving. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. [Right] Carol Wax (American, born 1953). Serpentdipity, 2003. Mezzotint. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. These two show burin engraving through a mezzotint ground.   Carol Wax (American, born 1953). Binder Spiral, 2023. Graphite. 127 x 23 in. Courtesy of the artist.   USEFUL LINKS Carol's website https://www.carolwax.com/ Jennifer Melby's link https://www.jennifermelby.com/ Conrad Graeber's link https://conradgraeber.com/

Dans l'arrière-salle d'un hôtel parisien battu par la pluie de novembre nous attendent deux générations de développeurs japonais. En blazer et chemise rayée, le producteur Yoshinori Kitase, qui approche la soixantaine. Calme et posé, il est devenu une des légendes de Square Enix en réalisant un des plus éclatants succès de la firme à la fin des années 90, alors qu'il effectuait ses premiers pas en solo au poste de réalisateur sur Final Fantasy VII. C'est lui qui a confié l'un des remakes les plus attendus du jeu vidéo au volubile quadra qui se tient à ses côtés. En baskets et sweat-shirt pétants, Naoki Hamaguchi ne semble pas angoissé par le destin du paquebot à plusieurs centaines de millions de dollars dont il a la charge. Très bien accueilli, le premier volet conforte le duo dans leurs choix. Quand le jeune plaide pour la tradition, l'autre encourage la révolution.Un entretien réalisé par Patrick Hellio et Marius Chapuis.Pour commenter cette émission, donner votre avis ou simplement discuter avec notre communauté, connectez-vous au serveur Discord de Silence on joue!Soutenez Silence on joue en vous abonnant à Libération avec notre offre spéciale à 6€ par mois : https://offre.liberation.fr/soj/CRÉDITSCet entretien a été enregistrée le 6 novembre 2023 sur Discord. Réalisation : Erwan Cario. Générique : Marc Quatrociocchi Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This week we are back with another Bilkent Cinema Society collaboration episode! In this episode, Wickham and Colleen discuss contemporary Japanese cinema in the context of "Paprika" (2006, dir. Satoshi Kon), "Drive My Car" (2021, dir. Ryūsuke Hamaguchi), and "Seven Samurai" (1954, dir. Akira Kurosawa).

LFF may be over, but the takes are not. For their final derive through the halls of contemporary arthouse film, Ralph, Owen, and George take stock of flicks both fair and foul: Jonathan Glazer's tautly rigorous Zone of Interest, Molly Manning Walker's spring-breaky debut How to Have Sex, Moin Hussain's service station sci-fi Sky Peals, Wim Wender's flabby kunstlerfilm Anselm, Linklater's poorly-aimed Hit Man, Hamaguchi's ham-fisted Evil Does Not Exist, Lila Aviles' raucously intimate Totem, Pedro Costa's compelling proof-of-concept The Daughters of Fire, and – finally – Close Your Eyes, the much-much awaited return of Victor Erice, in fine and dazzling form. 0:00 Intro 3:09 ZONE OF INTEREST - Jonathan Glazer 34:37 HOW TO HAVE SEX - Molly Manning Walker 57:04 TOTEM - Lila Aviles 1:05:47 HIT MAN - Richard Linklater 1:07:45 ANSELM - Wim Wenders 1:16:26 SKY PEALS - Moin Hussain 1:19:18 EVIL DOES NOT EXIST - Ryusuke Hamaguchi 1:27:12 CLOSE YOUR EYES - Victor Erice 2:01:53 DAUGHTERS OF THE FIRE - Pedro Costa Listen on Spotify: https://open.spotify.com/show/6hdAjXtGPpeQTCcuJ3KNmH?si=Ud_f__90TOSa28tzYPA5GQ Listen on Apple: https://podcasts.apple.com/gb/podcast/muub-tube/id1515030490 Watch on Youtube: https://www.youtube.com/@returntoformpod

On today's daily NYFF61 edition of the FLC podcast, director Ryûsuke Hamaguchi joins us to discuss Evil Does Not Exist, a Main Slate selection in this year's festival, with NYFF Artistic Director Dennis Lim. In his potent and foreboding new film, Oscar-winning director Ryûsuke Hamaguchi (Drive My Car) reconstitutes the boundaries of the ecopolitical thriller with the tale of a serene rural village that's about to be disrupted by the construction of a glamping site for Tokyo tourists. A Sideshow/Janus Films release. Enjoy this discussion Hamaguchi and don't forget to subscribe here for more filmmaker conversations. Evil Does Not Exist will be released by Sideshow and Janus Films. Tickets to the New York Film Festival are moving fast! Get up-to-date information on all available tickets on a daily basis by visiting filmlinc.org/tix.

CRUNCH! CRUNCH! Joshua picks Eaten Alive, Tobe Hooper's killer-crocodile follow-up to The Texas Chain Saw Massacre, for the final episode of the Cinema Speculation program. As if that weren't enough to satiate hungry listeners, he and Andrew also cover Hooper's 1981 meta-slasher The Funhouse. After this Hooper Fest, the critics pick their most anticipated films from the fall fests. Crocs! Hamaguchi! Haynes! Oh my! In just a few days, the guys keep sweatin' in the South with Hush... Hush, Sweet Charlotte, Joshua's pick for the first episode in the QU66R COD6D program. Can't read that? Better stay tuned to find out what it means! Until then, please share, subscribe, and review! Read on at TheTake-Up.com and follow us @thetakeupstl on ⁠Instagram⁠/⁠Twitter⁠/⁠Letterboxd⁠/⁠Facebook⁠. Special thanks to editor Jessica Pierce, Social Media Manager Kayla McCulloch, and our partners at ⁠Cinema St. Louis⁠. Theme music by AMP. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thetakeupstl/message

El Festival de Venecia 2023 ha estado marcado por la huelga de actores en Hollywood y la ausencia de grandes estrellas. En este episodio especial repasamos lo mejor de un certamen en el que han destacado los trabajos de Yorgos Lanthimos, Matteo Garrone,  Agnieszka Holland, Hamaguchi, Linklater o David Fincher. Además escuchamos a todos los protagonistas,  comentamos las polémicas y charlamos con los españoles en el Lido, J.A. Bayona, Víctor Iriarte y Marina Alberti.  

With "Evil Does Not Exist", Ryisuke Hamaguchi and Eiko Ishibashi join forces together again in a delicate and yet subtly troubling story of nature and the man's will of spoil her. The post “Evil Does Not exist”, interview with the director Ryosuke Hamaguchi and the composer Eiko Ishibashi appeared first on Fred Film Radio.

On a special musical episode of Best in Show, our crew—Mia Lee Vicino, Gemma Gracewood and Brian Formo unpacks what the fall film festival season has in store for movie lovers and awards voters. It all goes down once Venice kicks off on August 30, so we're here to hand-pick some highlights from acclaimed directors like Michael Mann, Sofia Coppola, Wes Anderson, Yorgos Lanthimos, Ryûsuke Hamaguchi and David Fincher. Plus, with the WGA and SAG-AFTRA strikes on our minds, we've programmed our own labor-themed film festival—including Silkwood (1983), The Killing Floor (1984) and Pride (2014) and more!—so you can add some solidarity to your forever watchlist. Best in Show is a limited podcast series brought to you by The Letterboxd Show. Chapters: Opening credits (00:00:00) Fall film fest season (00:01:08) Labor-themed film festival (00:18:27) Lightning round (00:54:26) Closing credits (01:04:10) Credits: Recorded in Los Angeles and Melbourne. Edited by Slim, editorial producer Brian Formo. Theme: ‘Hyperlight' by Letterboxd member Trent Walton (AKA Echo Wolf). Best in Show is a TAPEDECK production. Title courtesy of Christopher Guest. Lists & Links: Donate to SAG-AFTRA; WGA's Take Action info; List of movies mentioned; Best in Show's list of 45 labor movement movies

This week we're excited to present an archival conversation between journalist & author Min Jin Lee and Drive My Car director Ryûsuke Hamaguchi, whose new film, Evil Does Not Exist, will make its U.S. premiere as a Main Slate selection of the 61st New York Film Festival. Inspired by a Haruki Murakami short story, Ryûsuke Hamaguchi spins an engrossing, rapturous epic about love and betrayal, grief and acceptance. With his characteristic emotional transparency, Hamaguchi charts the unexpected, complex relationships that theater actor-director Yûsuke Kafuku (Hidetoshi Nishijima) forges with a trio of people out of professional, physical, or psychological necessity: his wife, Oto (Reika Kirishima), with whom he shares an erotic bond forged in fantasy and storytelling; the mysterious actor Takatsuki (Masaki Okada), whom he's drawn to by a sense of revenge as much as fascination; and, perhaps most mysteriously, Misaki (Tôko Miura), a plaintive young woman hired by a theater company, against his wishes, to be his chauffeur while he stages Uncle Vanya. Hamaguchi specializes in revelations of the heart, and Drive My Car—a beautiful melding of two distinct authorial sensibilities—consistently steers clear of the familiar in its characters' journeys towards self-examination. Winner of Best Screenplay at the 2021 Cannes Film Festival.

In this episode, Dr. Mark Hoffman invites Dr. Ted Lee, an OBGYN specializing in MIGS and professor of OBGYN at University of Pittsburgh Medical Center, about the ambulatory workup of endometriosis patients. --- EARN CME Reflect on how this Podcast applies to your day-to-day and earn free AMA PRA Category 1 CMEs: https://earnc.me/bT7a9b --- SHOW NOTES The episode begins with the physicians discussing the difficulties of diagnosing endometriosis, including: the stigma of pelvic pain/not believing women's pain, recognition that pelvic pain is not normal, the discomfort of physicians asking the appropriate questions for pelvic pain, and the hesitancy towards surgery by physicians and patients all play a role. Many patients have been having pain for years that may have been covered up by OCP use or misdiagnosed as IBS or interstitial cystitis. Ted emphasizes the importance of a thorough history in diagnosing endometriosis. Essential information includes age of onset of symptoms, gravidity and parity, prior C-section (abdominal wall endometriosis) and the “3 D's” of dyspareunia, dyschezia, and most importantly dysmenorrhea. A quality physical exam can also elucidate endometriosis. Ted starts by palpating the anterior vaginal wall, then the levator ani muscles and cervix, and finally the rectovaginal exam. Palpation of the uterosacral ligament and posterior cul-de-sac in endometriosis patients causes a visceral reaction, and advanced disease may also have nodules felt. The majority of patients don't require additional imaging since ultrasound is insensitive for stage 1 and 2 endometriosis. Indications for MRI include endometrioma, nodularities felt on exam, and abdominal wall endometriosis. When it comes to surgery, both doctors emphasize the importance of having other surgeons on your team, including colorectal surgery, general surgery, and urology. Ted dives into some surgical tips and techniques from his years of experience. Finally, the physicians end by discussing the future of endometriosis diagnosis. A Japanese study has recently found fusobacterium in the uterine microbiome in endometriosis patients more often than those without. Also, a French study has taken saliva samples and found signature microRNAs for endometriosis. It will be interesting to see how studies like these change the future of endometriosis diagnosis and if it will bring new challenges, such as overtreatment and overdiagnosis. --- RESOURCES Muraoka, A., Suzuki, M., Hamaguchi, T., Watanabe, S., Iijima, K., Murofushi, Y., Shinjo, K., Osuka, S., Hariyama, Y., Ito, M., Ohno, K., Kiyono, T., Kyo, S., Iwase, A., Kikkawa, F., Kajiyama, H., & Kondo, Y. (2023). Fusobacterium infection facilitates the development of endometriosis through the phenotypic transition of endometrial fibroblasts. Science translational medicine, 15(700), eadd1531. https://doi.org/10.1126/scitranslmed.add1531 Bendifallah, S., Suisse, S., Puchar, A., Delbos, L., Poilblanc, M., Descamps, P., Golfier, F., Jornea, L., Bouteiller, D., Touboul, C., Dabi, Y., & Daraï, E. (2022). Salivary MicroRNA Signature for Diagnosis of Endometriosis. Journal of clinical medicine, 11(3), 612. https://doi.org/10.3390/jcm11030612

During the early days of the COVID-19 Pandemic, being at home with my thoughts, I kept busy by researching mokuhanga. And one of my many discoveries was the exhibition at the Portland Art Museum held from September 24, 2020, to June 13, 2021, called Joryū Hanga Kyøkai, 1956-1965: Japan's Women Printmakers and curated by Japan Foundation Associate Curator of Japanese Art and Interim Head of Asian Art Jeannie Kenmotsu. It was an exhibition of mokuhanga, etchings, and lithography of a group of printmakers I didn't know much about. Individually I may have heard their names but as a group? I needed to learn more.    History is an essential part of mokuhanga; to search out those printmakers who have come before us to understand what they did and how they did it. I have learned so much from the past that I can use it in my own work for my present and future.        On this episode of The Unfinished Print, I speak with Jeannie Kenmotsu, Ph.D., about the Joryu Hanga Kyokai and, the road to this exhibition, the work that went behind it. We explore how the Joryu Hanga Kyokai showed a different face of printmaking in Japan. We discuss Tokyo during the 1950s and 1960s, the mokuhanga and print culture of the time, internationalism, and how this exhibition could catalyze more research on this incredible group.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Joryū Hanga Kyōkai, 1956-1965: Japan's Women Printmakers - was an exhibition curated by Jeannie Kenmotsu from September 24, 2020 - June 13, 2021, at the Portland Art Museum. It is the first step in understanding and education on the subject of women in Japanese printmaking in modern Japan. Members of the group were  Romanesque Architecture - is a style developed in the north of Italy, parts of France, and the Iberian Peninsula in the 10th century. Evolving from thick walls, no sculpture, and ornamental arches into towering round arches, massive stone and brickwork, small windows, thick walls, and an inclination for housing art and sculpture of biblical scenes.  For more information abbot Romanesquwe architecture you can find that, here.  Portland Art Museum - established in 1892, the PAM has established itself as one of the preeminent art musuems on the West coast of the United States. The musuem has 40,000 pieces of art and art objects. More information about PAM can be found here.  The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here.  mokuhanga in the 1950's and 1960's - Japanese woodblock printmaking became quite popular after World War II. With Japan growing exponentially post war, through industry and art, the independent philosphy that the West perpetuated began to filter into the Jpaanese art world. Sōsaku hanga became increadingly popular where there is only one carver, printer and draughtsman. These prints touched on various themes, but especially in the abstract. Artists such as Shigeru Hatsuyama (1897-1973), and Kiyoshi Saitō (1907-1997) spring to mind, who created a new kind of mokuhanga by using various techniques, colours, and sizes  that were unique and expressive. Oliver Statler's book, written in 1956, Modern Japanese Prints : An Art Reborn, was published because the art form was growing so quickly. It is a great summary  on the sōsaku hanga movement during that time.  Edo Period prints - woodblock prints of the Edo Period (1603-1867) were predominantly of kabuki actors (Sharaku), and courtesans (Harunobu) beginning in the middle of the 18th century. The traditional system of production came into play when making ukiyo-e of this period, designer,  carver, printer, and publisher. Famous designers of the day were Hiroshige (1797-1858), Hokusai (1760-1849). Lewis and Clark Centennial Exposition - was an international fair in 1905 held in Portland, Oregan, USA from June 1 - October 15 and attracted over 1 million visitors. It helped to showcase Portland and its environs, promoting the movement and expansion West by settlers. The Portland Art Museum began shortly after the Exposition as The Portland Art Association needed its own space to showcase art pieces from the Exposition.  The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Adolphe Braun (1812-1877) - was a German-born photographer who helped to establish photography as an art form. His work with the reproduction of art furthered art history throughout the world. Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Rain B (1953) 14 3/4 x 9 7/8" Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Osaka Castle (1935) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Yellow Iris (1953)  Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures.     Dawn At Sea (1969) - silkscreen 25 5/8" x 19 3/8" (AP) Tōshi Yoshida (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  Irises and Ducks - 19 5/8" x 11 3/4" Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Black Marks (1999) 20 1/2 × 20 1/8 in (AP) Guide to Modern Japanese Woodblock Prints: 1900-1975 - is a book published by the University of Hawai'i in 1995. It is a reference book describing artists, publishers, and carvers. It contains no images but is a valuable resource for the mokuhanga academic.  Uchima Toshiko (1918-2000) - was a Manchurian-born Japanese artist who worked in mokuhanga, liothography, assemblages and collage. She was one of the founders of the Joryū Hanga Kyōkai in 1955/56. She lived most of her life in the United States, specifically New York City.  Package From Italy - collage 19.8"x16.8" in Ansei Uchima (1921-2000) - was a mokuhanga printmaker in the sōsaku hanga style of Japanese printmaking. He was the translator for Japanologist Oliver Statler (1915-2002). Way For Hakone (1966) 13 3/4 x 21 in Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Iwami Reika (1927-2020) - was a Japanese-born artist and one of the founders of the Joryū Hanga Kyōkai. For a short video about Iwami Reika's work, check out Artelino.com. Round Shadow C (1957) sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Yoseido Gallery - is a fine print gallery located in the Ginza district of Tōkyō, Japan since 1953. More information can e found, here. Francis Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Far Eastern Madonna (1939) white line woodblock print  Japanese Economy of the 1950's - from 1945-1991 Japan had its most prosperous period of economic growth. By 1955 the economic began to grow twice as fast as prior to '55. According to The Berkley Economic Review the advancement of technologies, accumulation of capital, increased quantity and quality of labor, and increased international trade were the main reasons that strenghtend Japan. For more information regarding the begining of this growth you can find the BER article here.  intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.   Minami Keiko (1911-2004) - was a Japanese-born artist and a founder of the Joryū Hanga Kyōkai. Keiko's work is abstract, whimsical and youthful. She lived mainly in Paris, France, where she studied aquatint etching under Johhny Friedlaender (1912-1992). More information about Minami Keiko's art and life can be found here.  House With Sun and Trees : watercolour and gouache 14 3/4x11 in. Yōzō Hamaguchi (1909-2000) - was a Japanese-born mezzotint printmaker who lived in Paris, France, for most of his life. He was the husband of Minami Keiko.  Bottle With Lemons and Red Wall (1989) mezzotint 30 x 24 in. mezzotint - is a style of printmaking which uses a copper plate, “rocked” with a tool called a rocker, and then burnished with various devices. A good video showing the entire process from start to finish of a mezzotint print can be found here by the artist Julie Niskanen Skolozynski. Kobayashi Donge - is an aquatint etching artist who's subject is generally women and literature.  Roses Go Well With Mount Fuji (1993) etching with hand colouring on paper Tokyo University of the Arts (Geidai) - founded during the merger of the Tokyo Fine Arts School and the Tokyo Music School in 1949, TUA offers Masters's and Doctorate degrees in various subjects such as sculpture, craft and design as well as music and film. It has multiple campuses throughout the Kantō region of Japan. More information regarding the school and its programs can be found here.  担当者 - is a Japanese word which means “person in charge." Nihon Hanga Kyōkai - is the Japanese Printmakers Association. It was created in 1918, focusing on the new sōsaku hanga print movement. It evolved into a modern print organization covering various types of printmaking, such as relief, intaglio, planographic (lithography and offset printmaking), and stencil. You can find more information on their website in Japanese and English here. First Thursday Society (一木会) - was created by printmaker Onchi Kōshirō (1891-1955). The group brought artists and collectors to discuss the growing sōsaku hanga (creative print) movement to collaborate, share their work, and it acted as a mentorship program.  Un'ichi Hiratsuka (平塚 運一) - (1895-1977) - was one of the important players of the sōsaku hanga movement in mokuhanga. Hiratsuka was a proponent of self carved and self printed mokuhanga, and taught one of the most famous sōsaku hanga printmakers in Shikō Munakata (1903-1975). He founded the Yoyogi Group of artists and also taught mokuhanga at the Tōkyō School of Fine Arts. Hiratsuka moved to Washington D.C in 1962 where he lived for over thirty years. His mokuhanga was multi colour and monochrome touching on various subjects and is highly collected today.  Landscape (1934)  College Women's Association of Japan - was started by the alumnae of Mount Holyoke College from Massachusetts. Later expanding to other universities and colleges in the US, the CWAJ  established Japanese women to study abroad through travel grants and scholarships, thereby promoting Japanese culture. What began as a fundraising program from 1956 onward, the annual print show has become one of the most essential print shows in the world, showcasing prints of all types. It is the largest juried print show in Japan. More information about the CWAJ and its print show can be found here.  Kantō (関東地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Gunma, Tochigi, Ibaraki, Saitama, Tōkyō, Chiba and Kanagawa. The Kantō Regional Development Bureau of the Ministry of Land Infrastructure, Transport and Tourism oversees these prefectures. More information can be found here.  Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here.  Jun'ichirō Sekino (1914-1988) - was a Japanese mokuhanga printmaker of the sōsaku hanga creative prints movement. Sekino's works are landscapes and portraits and are black and white and colourful. Sekino studied under Onchi Kōshirō. He was invited to the United States several times as a visiting professor at Oregon State University, the University of Washington, and Penn State University in 1963, where he taught classes on mokuhanga. You can find more information about Sekino and his work and life on his website here.  U.S Army Officer (1948)  24"x18.8" in. Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.  Night Birds (The Fence of...) 7.4"x11.5" in. Aomori (青森県) - is a prefecture in north Japan. Located about an hour and a half from Tōkyō, Aomori is known for its incredible nature, festivals, sports and outdoor activities in all four seasons. More information can be found here.  Kobe, Japan - is the capital city of Hyōgo Prefecture in Japan. One of the few ports open to Western trade, Kobe has always had a great vibe. With a lot to visit and see, Kobe has many attractions, such as its harbour, Mount Rokkō, and various museums and mansions on the hill; its proximity to Osaka and Kyoto makes it an ideal place to visit. For more information about Kobe, Japan, see here.  Shirokiya - was a department store company which started in Japan with various stores throughout Japan and Hawai'i. It was founded in Tōkyō in 1662 and went out of business in 2020. The store was famously depicted in a Hiroshige print, View of Nihonbashi Tori-itchome 1858.  Sarah Lawrence College - is a liberal arts college in Yonkers, New York.  Founded in 1926, Sarah Lawrence has been dedicated to the education process and inclusivity of its student body since its inception. For more information about the school and their work can be found here. Pratt Institute - is a private university located in Brooklyn, New York. Established in 1887 and founded by American business magnate Charles Pratt (1830-1891), the Pratt Institute focuses on the liberal arts such as architecture, art and design, shaping leaders of tomorrow. For more information about TPI, you can look here.  Elise Grilli (d.1969) - was an art critic and author who wrote for the Japan Times. She lived in Japan throughout the 1940's into the 1960's. Her book The Art Of The Japanese Screen is considered a classic.  Charles Terry (1926-1982) - was an author and translator of Japanese in Tōkyō for Harry J. Abrams.  James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Shima Tamami (1937-1999) - was a mokuhanga printmaker who joined the JHK when they had already established themselves. Her career was short, moving to the United States in the 1960s. Her mokuhanga depicts Japanese aesthetics and themes producing still lives. Her work was featured in James Michener's book, The Modern Japanese Print: An Appreciation, in 1962. For more information and images of Tamami Shima's work, please check out the Viewing Japanese Prints site here. Bird B (1959) 11.9"x16.3" in. Noriko Kuwahara - is a scholar, curator, and author of Japanese art in Japan.  PoNJA-GenKon - is an online listserve group which means Post-1945 (Nineteen Forty Five) Japanese Art Discussion Group Geidai Bijutsu Kondankai. It was established in 2003 to bring together specialists in Japanese art in the English speaking world. For more information about what PoNJA-GenKon does search here. Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. More information can be found here. Sakura City Museum of Art -  is a fine art museum located in Sakura City, Chiba, Japan. It is dedicated to the arts of those form Sakura City and Bosho. More information in Japanese here.  Ao no Fūkei (Landscape in Blue) - is a mokuhanga print created by Chizuko Yoshida in 1972.  Futurism - is an art movement which began in Italy. It was established in the early 20th Century by artists Filippo Tommaso Marinetti (1876-1944), Umberto Boccioni (1882-1916), and Carlo Carrà (1881-1966), amongst others. The idea of Futurism was to reject the past and celebrate the speed and power of the present, of industrialization and modernity through art. Futurism influenced other artistic communities around the world.  The Endless Manifesto - Started by Tommaso Marinetti's original manifesto on Futurism called Manifesto of Futurism, the Futurists wrote many manifestos about their ideas on art, history, politics, literature, music, among other topics, until 1914, as well as books, articles in literary journals, magazines and newspapers. The MoMA has written a good article on the Futurists and their manifestos and writings here. © Popular Wheat Productions opening and closing musical credit - Joe Chambers "Ruth" released on Blue Note Records (2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                    

**THIS EPISODE CONTAINS FULL SPOILERS** Ryûsuke Hamaguchi sure knows how to direct a three-hour movie! Welcome to the Season 8 finale of Film is Lit, where we discuss Haruki Murakami's short story, “Drive My Car” and the 2021 movie of the same name. What a journey - if you're not reaching out to a therapist and your loved ones after you finish this movie, I don't know what you're doing with your life. Enjoy the journey inward! #DriveMyCar #RyusukeHamaguchi #HarukiMurakami #MenWithoutWomen #HidetoshiNishijima #TôkoMiura #JinDaeyeon #movieadaptation #filmadaptation #Japan #japanesecinema #Filmislit #filmislitpodcast #DannyGaylord #LauraSielingGaylord #BestInternationalFilm #BooktoScreen

Michael Sun (The Guardian AU's Saved for Later podcast) joins Alexei to discuss A24's latest sci-fi endeavor from filmmaker Koganada AFTER YANG starring Colin Farrell as a father seeking to repair his malfunctioning android son and the Japanse short film anthology Wheel of Fortune & Fantasy from Drive My Car director Hamaguchi.  NEXT in {HEIST}: SET IT OFF (1996) from F Gary Gray starring Jada Pinkett-Smith, Vivica A Fox & Queen Latifah.  Join our Patreon for just $5 to get access to our spin-off TOTAL RESPECT, sign up HERE. We're going weekly on patreon covering everything from coming attractions, what we have watched and bonus movie episodes. Gen & Alexei's podcast for Netflix its called... LIVED IT! Cameron James Live Comedy Tour BOOK TICKETS FINDING DRAGO / FINDING DESPERADO - Subscribe on APPLE PODCAST or SPOTIFY See omnystudio.com/listener for privacy information.

Director Ryûsuke Hamaguchi discusses his new film, Drive My Car, with fellow director Victoria Hochberg in a Q&A at the DGA theater in Los Angeles. The conversation took place via Zoom and was translated by Aiko Hamaguchi. The film follows an aging widowed actor who receives an offer to direct a production of Uncle Vanya. During the production, he is forced to confront painful truths from his past with the help of the young woman assigned to chauffeur him. Join Mr. Hamaguchi as he shares his philosophy of what a director is and how he helps actors instinctively understand their characters. Please note: spoilers are included. See photos and a summary of this event below: https://dga.org/Events/2022/May2022/GCS_DriveMyCar_0422.aspx

Let us take you for a ride this week with two freeway friendly features!  First up is the Oscar darling Drive My Car, tailed by the joyriding Jarmusch taxi anthology Night on Earth.  Buckle up, and no sheep OR pumpkins allowed in our car!  #drivemycar #nightonearth #jimjarmusch #robertobenigni

Drive My Car - Movie Review - Ray Taylor Show Subscribe: InspiredDisorder.com/rts Binge Ad Free: InspiredDisorder.com/plus Show topic: A renowned stage actor and director learns to cope with his wife's unexpected passing when he receives an offer to direct a production of Uncle Vanya in Hiroshima.Director: Ryûsuke Hamaguchi Writers: Haruki Murakami(short story), Ryûsuke Hamaguchi, Takamasa Oe JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Members only discounts and dealsRay Taylor Show AD-FREE + Bonus EpisodesLive Painting ArchiveComplete Podcast Back CatalogueRay's Personal Blog, AMA and so much MORE!Sponsored By:InspiredDisorder.com/tmf The Many Faces - Original abstract ink portraits by Ray Taylor. Code: RTS for 25% OFF. StationHouseCoffee.com and @StationHouseCoffee on Instagram for premium small batch, single source coffee.InspiredDisorder.com/Ting $25 CREDIT! The best carrier. The best coverage.Same low rates, now with three coast-to-coast networks.Daily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links

Episode 200 of Cleaning Dishes is out. We hit a milestone and we are more than glad to celebrate it with you, our listeners. On this episode, we get into predictions of Snowfall, we recall the three hour movie "Drive My Car" on HBOmax and we hop into the anime world with our opinion of the new movie, Jujutsu Kaizen. All this and more after we gather the dishes. Drive my Car Directed by: Ryûsuke Hamaguchi Written by: Short Story was written by Haruki Murakami Screenplay by Ryûsuke Hamaguchi and Takamasa Oe Starring by: Hidetoshi Nishijima, Toko Miura, Reika Kirishima Jujutsu Kaizen 0 Directed by Seong-Hu Park Writer and Original Creator Gege Akutami Starring the voices of Chinatsu Akasaku, Aya Endô, Kana Hanazawa Fenix Fitness website FNX 15% off coupon code: FNXISz7 Follow Us on Social Media: https://linktr.ee/cleaningdishes Google Form: https://forms.gle/8nty8jeEjKHKvNgV6 --- Send in a voice message: https://anchor.fm/cleaningdishes19/message Support this podcast: https://anchor.fm/cleaningdishes19/support

Host Jeff Goldsmith interviews Zach Baylin, Sir Kenneth Branagh, Jane Campion, Ryûsuke Hamaguchi, Jon Spaihts and Eskil Vogt about their Oscar nominated screenplays. Download my podcast here Copyright © Unlikely Films, Inc. 2022. All rights reserved. For more great content check out Backstory Magazine @ www.backstory.net

This week’s Nose doesn’t need you to tell it whether it’s cool or not, old lady. Licorice Pizza is the ninth feature film written and directed by Paul Thomas Anderson. The movie and Anderson are nominated for three Academy Awards: Best Picture, Best Director, and Best Original Screenplay. It is a coming-of-age story set in the San Fernando Valley in the 1970s and starring Alana Haim and Cooper Hoffman in their film debuts. Its ensemble supporting cast includes Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie, Maya Rudolph, and John C. Reilly. And Drive My Car is an adaptation of the Haruki Murakami short story written by Ryusuke Hamaguchi and Takamasa Oe and directed by Hamaguchi. It is the first Japanese film ever nominated for Best Picture at the Academy Awards and just the sixth movie ever to win Best Picture from all three major U.S. critics’ groups after Goodfellas, Schindler’s List, L. A. Confidential, The Hurt Locker, and The Social Network. Some other stuff that happened this week, give or take: Mitchell Ryan, Lethal Weapon And Grosse Pointe Blank Actor, Dies At 88 If the Lockout Makes Baseball Better, It Will Have Been Worth It After tense negotiations, Major League Baseball and the players’ union both made gains in their desired areas. But more important, they avoided losses — of games and, potentially, their standing. Netflix Suspends Service in Russia Amid Invasion of Ukraine Moonfall Has Bombed Its Way Into The Record Books, And That’s Concerning ‘Black Panther’ Director Ryan Coogler Mistaken for Bank Robber “We deeply regret that this incident occurred. It never should have happened and we have apologized to Mr. Coogler,” Bank of America told The Hollywood Reporter in a statement about the January incident in Atlanta. Disney Censors ‘Overtly Gay Affection’ In Movies, According To Pixar Employees Denzel Washington tackles Shakespeare and life’s fourth quarter with grace ‘We can’t afford to lose them’: the fight to bring missing movies back Films such as The Heartbreak Kid and I Shot Andy Warhol remain unavailable on any platform but a new initiative is aiming to change that Why Isn’t Brittney Griner the Biggest Sports Story in the Country? GUESTS: Taneisha Duggan: A director, producer, and arts consultant James Hanley: Co-founder of Cinestudio at Trinity College Tracy Wu Fastenberg: Development officer at Connecticut Children’s The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Join the conversation on Facebook and Twitter. Colin McEnroe and Eugene Amatruda contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.