Podcasts about yasujiro

Perfect Days, ultimo film del grande Wim Wenders, ha illustrato la società giapponese come immagine e metafora delle trasformazioni sociali e del rapporto tra generazioni, temi molto cari al grande maestro del Cinema Yasujirō Ozu. Approfittando del successo del film, abbiamo accostato a Perfect Days una delle più grandi opere di Ozu: Buon giorno (Good Morning), film del 1959 che anticipava già la perdita delle tradizioni. Il dialogo nato tra i due universi cinematografici è oggi più contemporaneo che mai.Con Federico Allocca e Simone CortiRiprese Gianlorenzo Bernabò Di NegroMusica DEMONA alias Andrea Evangelista e Delio GallmannAnimazione sigla Ida CortiLogo design Chiara QuagliarellaPost-produzione audio Matteo FusiCon il sostegno di Associazione La Terza Via e GYBE StudioUn grazie a Raffaele Allocca, Elisabetta Marrocco, Riccardo Romano, Andrea Sestu

durée : 00:34:59 - Les Nuits de France Culture - Une histoire du cinéma - Yasujiro Ozu (1ère diffusion : 14/08/2007)

One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. In The Cinema of Ozu Yasujiro: Histories of the Everyday (Edinburgh University Press, 2017), Woojeong Joo offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to post-war Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a ground-breaking new study of a master of cinema. In this interview, I asked Woojeong a series of questions concerning the operative notion of the "everyday" in the works of Ozu. It seems that the ordinary and oft-repetitive experience of the "present" enabled Ozu to create a space in which one could resist the nationalistic dictum of the "Japanese spirit" in 1930–40s Japan. Despite the fact that there is a certain continuity between his pre-war and post-war works (just like the works of the Kyoto School philosophers that the book cites), and despite the limitations Ozu's works inherently contain for a contemporary audience, his films are saturated with acute social commentaries, and offer insight into the emergence of different social "everday"s in modern Japan. Woojeong's interpretation of "feminity" in the works of Ozu also demonstrates his cross-cultural and cross-generational sensitivity, which is necessary for understanding the significance of "femininity" in the wider intellectual and historical context of feminist philosophy and Gender studies.  I ended with a question about Ozu's signature technique of the "low height" angle. Is there anything that we should know about this distinct technique? What did Ozu intend to achieve with this peculiar viewpoint? Woojeong's informed answer, just like this book, will no doubt make us feel like watching the Ozu films again. Woojeong Joo received his PhD degree from University of Warwick. He has worked at the University of East Anglia as a postdoctoral research assistant for the AHRC-funded project "Manga to Movies" and is currently teaching in the Japan-in-Asia Cultural Studies Program at Nagoya University, Japan. Takeshi Morisato is philosopher and sometimes academic. I specialize in comparative and Japanese philosophy but I am also interested in making Japan and philosophy accessible to a wider audience. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. In The Cinema of Ozu Yasujiro: Histories of the Everyday (Edinburgh University Press, 2017), Woojeong Joo offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to post-war Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a ground-breaking new study of a master of cinema. In this interview, I asked Woojeong a series of questions concerning the operative notion of the "everyday" in the works of Ozu. It seems that the ordinary and oft-repetitive experience of the "present" enabled Ozu to create a space in which one could resist the nationalistic dictum of the "Japanese spirit" in 1930–40s Japan. Despite the fact that there is a certain continuity between his pre-war and post-war works (just like the works of the Kyoto School philosophers that the book cites), and despite the limitations Ozu's works inherently contain for a contemporary audience, his films are saturated with acute social commentaries, and offer insight into the emergence of different social "everday"s in modern Japan. Woojeong's interpretation of "feminity" in the works of Ozu also demonstrates his cross-cultural and cross-generational sensitivity, which is necessary for understanding the significance of "femininity" in the wider intellectual and historical context of feminist philosophy and Gender studies.  I ended with a question about Ozu's signature technique of the "low height" angle. Is there anything that we should know about this distinct technique? What did Ozu intend to achieve with this peculiar viewpoint? Woojeong's informed answer, just like this book, will no doubt make us feel like watching the Ozu films again. Woojeong Joo received his PhD degree from University of Warwick. He has worked at the University of East Anglia as a postdoctoral research assistant for the AHRC-funded project "Manga to Movies" and is currently teaching in the Japan-in-Asia Cultural Studies Program at Nagoya University, Japan. Takeshi Morisato is philosopher and sometimes academic. I specialize in comparative and Japanese philosophy but I am also interested in making Japan and philosophy accessible to a wider audience. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. In The Cinema of Ozu Yasujiro: Histories of the Everyday (Edinburgh University Press, 2017), Woojeong Joo offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to post-war Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a ground-breaking new study of a master of cinema. In this interview, I asked Woojeong a series of questions concerning the operative notion of the "everyday" in the works of Ozu. It seems that the ordinary and oft-repetitive experience of the "present" enabled Ozu to create a space in which one could resist the nationalistic dictum of the "Japanese spirit" in 1930–40s Japan. Despite the fact that there is a certain continuity between his pre-war and post-war works (just like the works of the Kyoto School philosophers that the book cites), and despite the limitations Ozu's works inherently contain for a contemporary audience, his films are saturated with acute social commentaries, and offer insight into the emergence of different social "everday"s in modern Japan. Woojeong's interpretation of "feminity" in the works of Ozu also demonstrates his cross-cultural and cross-generational sensitivity, which is necessary for understanding the significance of "femininity" in the wider intellectual and historical context of feminist philosophy and Gender studies.  I ended with a question about Ozu's signature technique of the "low height" angle. Is there anything that we should know about this distinct technique? What did Ozu intend to achieve with this peculiar viewpoint? Woojeong's informed answer, just like this book, will no doubt make us feel like watching the Ozu films again. Woojeong Joo received his PhD degree from University of Warwick. He has worked at the University of East Anglia as a postdoctoral research assistant for the AHRC-funded project "Manga to Movies" and is currently teaching in the Japan-in-Asia Cultural Studies Program at Nagoya University, Japan. Takeshi Morisato is philosopher and sometimes academic. I specialize in comparative and Japanese philosophy but I am also interested in making Japan and philosophy accessible to a wider audience. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. In The Cinema of Ozu Yasujiro: Histories of the Everyday (Edinburgh University Press, 2017), Woojeong Joo offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to post-war Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a ground-breaking new study of a master of cinema. In this interview, I asked Woojeong a series of questions concerning the operative notion of the "everyday" in the works of Ozu. It seems that the ordinary and oft-repetitive experience of the "present" enabled Ozu to create a space in which one could resist the nationalistic dictum of the "Japanese spirit" in 1930–40s Japan. Despite the fact that there is a certain continuity between his pre-war and post-war works (just like the works of the Kyoto School philosophers that the book cites), and despite the limitations Ozu's works inherently contain for a contemporary audience, his films are saturated with acute social commentaries, and offer insight into the emergence of different social "everday"s in modern Japan. Woojeong's interpretation of "feminity" in the works of Ozu also demonstrates his cross-cultural and cross-generational sensitivity, which is necessary for understanding the significance of "femininity" in the wider intellectual and historical context of feminist philosophy and Gender studies.  I ended with a question about Ozu's signature technique of the "low height" angle. Is there anything that we should know about this distinct technique? What did Ozu intend to achieve with this peculiar viewpoint? Woojeong's informed answer, just like this book, will no doubt make us feel like watching the Ozu films again. Woojeong Joo received his PhD degree from University of Warwick. He has worked at the University of East Anglia as a postdoctoral research assistant for the AHRC-funded project "Manga to Movies" and is currently teaching in the Japan-in-Asia Cultural Studies Program at Nagoya University, Japan. Takeshi Morisato is philosopher and sometimes academic. I specialize in comparative and Japanese philosophy but I am also interested in making Japan and philosophy accessible to a wider audience. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. In The Cinema of Ozu Yasujiro: Histories of the Everyday (Edinburgh University Press, 2017), Woojeong Joo offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to post-war Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a ground-breaking new study of a master of cinema. In this interview, I asked Woojeong a series of questions concerning the operative notion of the "everyday" in the works of Ozu. It seems that the ordinary and oft-repetitive experience of the "present" enabled Ozu to create a space in which one could resist the nationalistic dictum of the "Japanese spirit" in 1930–40s Japan. Despite the fact that there is a certain continuity between his pre-war and post-war works (just like the works of the Kyoto School philosophers that the book cites), and despite the limitations Ozu's works inherently contain for a contemporary audience, his films are saturated with acute social commentaries, and offer insight into the emergence of different social "everday"s in modern Japan. Woojeong's interpretation of "feminity" in the works of Ozu also demonstrates his cross-cultural and cross-generational sensitivity, which is necessary for understanding the significance of "femininity" in the wider intellectual and historical context of feminist philosophy and Gender studies.  I ended with a question about Ozu's signature technique of the "low height" angle. Is there anything that we should know about this distinct technique? What did Ozu intend to achieve with this peculiar viewpoint? Woojeong's informed answer, just like this book, will no doubt make us feel like watching the Ozu films again. Woojeong Joo received his PhD degree from University of Warwick. He has worked at the University of East Anglia as a postdoctoral research assistant for the AHRC-funded project "Manga to Movies" and is currently teaching in the Japan-in-Asia Cultural Studies Program at Nagoya University, Japan. Takeshi Morisato is philosopher and sometimes academic. I specialize in comparative and Japanese philosophy but I am also interested in making Japan and philosophy accessible to a wider audience. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Nate and Matt discuss Yasujiro's Ozu's 1959 film "Floating Weeds," made before remakes were cool.

Hearty White Hearty White Hearty White https://www.wfmu.org/playlists/shows/86171

Hearty White Hearty White Hearty White http://www.wfmu.org/playlists/shows/86171

In this Casually Criterion episode - Mike,  Justin and Chris dive into Spine #217 from The Criterion Collection, Yasujiro Ozu's Tokyo Story! RUNDOWN -  - Intro (00:00:00 - 00:01:46) - What's On Our Minds (00:01:46 - 00:14:07)       - Death of Filmstruck, New streaming app Kanopy       - February 2019 Criterion Release Announcements - Tokyo Story Discussion (00:14:07 - 00:48:11) - Our Choices for the next Casually Criterion Poll (00:48:11 - 00:55:17) - Outro (00:55:17 - 00:56:37)   Be sure to vote on our poll to choose the film for our next Casually Criterion episode on Twitter!  Visit our friends at www.reeloutreach.com and help send kids in need to the movie theater! Also, for all your movie and game news, reviews and more, check out our friends at www.cinelinx.com. Check out our new website at www.casualcinemedia.com Follow us on: Twitter Facebook Instagram Email us at: casualcinemedia@gmail.com Talk Criterion Collection, film, tv and other stuff with us in our Facebook group at:  https://www.facebook.com/groups/casualcinecast Intro/Outro Music courtesy of Jake Wagner-Russell at www.soundcloud.com/bopscotch

This week, we watch the film that was rated as the #1 best movie of all time by 358 of the biggest directors in the world (including Scorsese, Tarantino, Coppola, and many others). This film takes on the seemingly not so interesting topic of every day life, and uses its deliberate pacing (slow) to add weight to its topics in a way that we rarely see on the screen. Tokyo Story (1953), directed by Yasujiro Ozu.

In this episode, I explore Yasujiro Ozu's 1949 classic, "Late Spring." Setsuko Hara stars as 27-year-old Noriko who feels a strong bond with her widower father and prefers to live with him instead of getting married. Worried that he will doom his daughter to an unfulfilling life, Noriko's father claims that he intends to re-marry and insists that Noriko have a life of her own with a husband. I talk about Ozu's life, why his directing style is unique, and why this film moves me so deeply. I focus on the relationship between Noriko and her father, and I question why we prioritize romantic love and often do not acknowledge the power of other kinds of love, like that for our parents or our friends. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, Instagram, and Tumblr. Original artwork by Dhiyanah Hassan Full show notes: Paul Schrader's essay about Ozu on Film Comment Senses of Cinema profile of Ozu Essay about Ozu on The Japan Times Robert Gottlieb's essay about Setsuko Hara for The New York Review of Books More information about the Mammoni men of Italy More about Filmstruck Listen to episodes mentioned: The Passion of Joan of Arc L'avventura La Jetee Cleo from 5 to 7 Pather Panchali Apu Trilogy The Big City Koker Trilogy Taste of Cherry Close-Up Hiroshima Mon Amour Dead Poets Society

Mark, Aaron and Matt Gasteier explore the filmmaking world of Yasujirō Ozu, centering on his pivotal masterpiece Late Spring (1949).

Since this our last episode of 2016, we felt it appropriate to mark the occasion with a pair of discussions about "changing times." First up, Lady P welcomes blogger, David Eves, and Flixwise co-producer, Martin Kessler, to talk about today's Sight and Sound entry, Luchino Visconti's 1963 epic period drama, The Leopard. The film is about an aging Sicilian prince, played by Burt Lancaster, who attempts to stoke the flickering remnants of his family heritage and societal standing as the old world aristocracy crumbles around him. At number 57, The Leopard stands as Visconti's most highly ranked film on the "Greatest of all Time" list. It is largely heralded for its lavish production design, its sweeping themes of love and family strife, and the towering central performance from Lancaster. The panel deliberates on how well the central themes of the film still resonate in our current political climate. Then, the gang jumps into a discussion on movies about intergenerational conflict (i.e., they'll take any excuse to bring up The Magnificent Ambersons). They talk about the challenges of portraying these eternal struggles on film, and why we as humans insist on pitting different generations against each other. 

Hi everyone, here's a new episode of Over/Under Movies, and we wanted to remind everyone to please write us a review on iTunes (You can find us if you search for Over/Under Movies) if you enjoy our show so we can get more people like you to listen to us complain about or praise overrated and underrated movies. In this episode, Ryan, Oktay, and Erik talk about Oktay's picks; two revered Japanese dramas that deal with some heavy themes like life, death, the importance of family, tradition vs. individuality, in a brutally honest but life affirming way. First off, a vital clarification: Yes, this episode's overrated pick is Yasujiro Ozu's sublime and profoundly moving family drama Tokyo Story. But before Ozu fanboys pull out their knives and axes (They tend to be a violent bunch), we'd like to point out that yes, Tokyo Story is a great film, a masterpiece even. But the main question of this section is, "Can a film you agree to be a masterpiece still be overrated?" Next, we move on to Akira Kurosawa's seminal masterwork Ikiru, about a monotonous government bureaucrat (Takashi Shimura in perhaps the greatest male performance in film history) who finally begins to live when he finds out that he will die in less than a year. Yes, Ikiru is considered to be one of Kurosawa's best, but general audiences, even many film buffs immediately think about his jidaigeki Samurai films when his name is mentioned. Therefore, we wanted point out his amazing work as a director of contemporary dramas. As usual, thank you for listening, please write us your comments and iTunes reviews so we can improve the show, and look forward to new episodes when our killer Pacific Northwest-based film critics will discuss one overrated and one underrated film that share the same genre, style, or plot. You can find us on iTunes if you search for Over/Under Movies and on Twitter @overundermovies. You can also like our facebook page at https://www.facebook.com/overundermovies so you can be kept up do date on new episodes. Erik McClanahan is the lead film critic at Oregon Arts Watch, co-host of the Adjust Your Tracking podcast (Also available on iTunes) and a contributor at The Playlist. Ryan Oliver is a contributor at Gotchamovies.com. He writes reviews and articles for them, and co-hosts their Unspooled Reel podcast. Oktay Ege Kozak is a film critic for The Oregon Herald, Beyazperde, DVD Talk and is also a contributor and film critic at The Playlist.

On today's episode Lady P is joined once again by writer and film historian, Professor Joseph McBride. They sit down to discuss the number 15 movie on the Sight and Sound Greatest of All Time List, Yasujiro Ozu's LATE SPRING. As Lady P mentions in the podcast, Joe was selected to participate in the 2012 Sight and Sight Critic's Poll, and he included LATE SPRING in his individual top 10 list. Lady P and Joe talk about why he feels LATE SPRING is worthy of inclusion in the canon. They also get into some of the personal and sociopolitical influences that may have informed much of Ozu's work, and they discuss the enduring appeal of Ozu's filmography. For the second topic, Joe and Lady P offer up a handy guide for budding cinephiles. If you're someone who's always wanted to be able to show off your well honed movie tastes, but have never known where to start, then this is the episode for you. Prepare to start spending a lot more time indoors, because Lady P and Joe are offering up a selection of "gateway films", or films that will lead you to a greater appreciation for film history and artistry. Think of it as a movie snob starter kit. With this kit the wild world of smarty-pants cinema will open it's doors to you, and you will officially be out of reasons not to watch LAST YEAR AT MARIENBAD. You're welcome! Finally, they finish off the podcast by talking about a few upcoming projects of Joe's. Here are just a few of the things that the Professor's been working on lately: HAWKS ON HAWKS INTO THE NIGHTMARE: My Search For the Killers of President John F. Kennedy and Officer J.D. Tippet If you like this episode, make sure to check Lady P and Joe's earlier podcast on John Ford's classic western, THE SEARCHERS.