Podcasts about yasujiro ozu

La rencontre en présence de Karol Beffa, pianiste, compositeur, improvisateur et universitaire reconnu, accompagnera au piano "GOSSES DE TOKYO" film muet réalisé en 1932 par Yasujiro Ozu

Odds and Ends: T.J. wants to play another game, a game about games (and movies); we both did our homework, so we're able to talk about both Common Side Effects and Sinners!Feature Film: We talk about the final film by director Yasujiro Ozu, An Autumn Afternoon. We struggle through our issues with differing cultural norms and the overall okayness of it as we try to figure out what exactly makes it such a beloved classic.Next week's movie: Battle Royale (2000)You can join the conversation Wednesdays at 7pm EST! Available in podcast form on all your favorite podcatchers!Socials:linktr.ee/ThereWillBeDudsTwitch // ThereWillBeDudsYouTube // There Will Be DudsTwitter // @ThereWillBeDudsFacebook // There Will Be DudsInstagram // ThereWillBeDudsTikTok // @ThereWillBeDuds(0:00) Show start(13:10) An Autumn Afternnon discussion(56:06) Post-movie chat(1:41:12) Next week's movie

This week, we take a look at Yasujiro Ozu's seminal masterpiece, a loose adaptation of the incredible 'Make Way for Tomorrow', and then talk about the harrowing Best Picture winner that also nabbed Frank Sinatra a Best Actor Oscar. Apologies for the bad audio on this and the next two episodes, we ran into a technical difficulty.Connect with us:Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/Brad on Letterboxd: https://letterboxd.com/bradgaroon/Jake on Letterboxd: https://letterboxd.com/jake_ziegler/Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Un épisode qui voyage dans le temps alors que nous vous présentons notre converation sur The Monkey d'Osgood Perkins enregistrée la semaine dernière à travers un épisode dans lequel nous parlons aussi de The Gorge de Scott Derrickson, Roman Holiday de William Wyler, Home Sweet Home de Mike Leigh, Mad Dog Labine et Good Morning de Yasujiro Ozu!

Fünfter und letzter Film im Japanuary2025: TOKYO-GA von Wim Wenders ist eine Wallfahrt zum heiligen Ozu – einerseits mit Schwächen, andererseits mit großartigen Begegnungen und Interviews. Thomas hat im Podcast Lieblingsgast Lucas Barwenczik vor dem Mikrofon.Wim Wenders hat sich 1983 nach Japan aufgemacht – auf der Suche nach dem Tokio seines großen Regie-Idols Yasujiro Ozu. Dessen stille Filme mit klarer Form sind weltweit bekannt. Ozu beschäftigte sich stark mit Familienbeziehungen und den schwierigen Veränderungen Japans nach dem zweiten Weltkrieg. Mit Veränderungen hat Wenders in TOKYO-GA aber so seine Probleme: Er fremdelt unübersehbar mit dem Boom-Japan der 1980er Jahre – zu laut, zu bunt, zu modern, zu schnell, so gar nicht wie in Ozus Filmen. Dabei bleibt er überraschend oberflächlich, spricht nicht mit gleichaltrigen japanischen Kolleg:innen oder anderen Japanern.Aber er führt zwei beindruckende und berührende Interviews: mit Ozus Kameramann Yuharu Atsuta, der sein ganzes Berufsleben mit Ozu verbracht hat und Einblicke in Ozus Inszenierungsarbeit gibt – und mit Chishu Ryu, dem großartigen Schauspieler, der in fast allen Ozu-Filmen vor der Kamera stand und über die Maßen bescheiden ist. Allein für diese beiden Gespräche lohnt sich der Film. Im Podcast sprechen Lucas und Thomas unter anderem über Verehrung, Verklärung, Japan-Begeisterung, Wenders salbungsvolle Kommentare und Werner Herzogs beleidigte Landschaft.

Au programme de l'émission du 29 janvier : avec Karim Ressouni-Demigneux, auteur LA NOUVEAUTÉ DISCOGRAPHIQUE - chronique de Véronique Soulé - c'est au début

Dave and Jeremy dive deep into Dave's pick, a domestic drama from director Yasujiro Ozu. In post-war Tokyo, 27 year old Noriko resists mounting pressure to marry and leave her widowed father's home. Filled with moments of everyday tranquility, LATE SPRING evokes powerful emotions with unusual camera placement and subdued performances that gently advance the painful conflict faced by Noriko and her father. Join Dave and Jeremy as they admire the effectiveness of Ozu's style and puzzle over the tantalizing ambiguities that bring his characters and their fates to life. This episode's conversation touches on the critical responses to Ozu's oeuvre, his recurring cast members, and the vision and craft with which this innovative director renders the turning points in this subtly devastating study of self and family. Cue up, hang out, and rewind as much as you like as Dave and Jeremy relish the warmth of LATE SPRING.Thank you for listening! Please subscribe, leave a rating or review, and share this show with your friends.We'll be back next month with Jeremy's reply.Music by Jeremy Donald.Find Dave here:https://linktr.ee/davedwelling

In this solo episode on the film 'Early Summer', I complete the ERRP coverage of Yasujirō Ozu's 'Noriko trilogy'. And there is much to talk about with this movie: how it compares/ differs from the director's earlier work 'Late Spring', visual metaphors the filmmaker uses and how I personally relate to this story.

SEASON 2 - EPISODE 113 - Technical Knowledge for Cinematographers - with David Mullen In this special episode of the Team Deakins Podcast, we're joined by our friend and cinematographer David Mullen (Season 1, Episode 83) to discuss what and how much technical knowledge a cinematographer ought to know these days. The conversation includes specific explanations of technical details (such as the difference between film grain and digital noise) and more general subjects (such as the importance of telling a story and eliciting an emotional response from the audience). We also share a number of work stories, including Roger's early-career exposure to cinematographer Douglas Slocombe's internal light-meter and David's experience seeing his work on a TV show smothered by a yellow filter during post. Reflecting on the diversity in images in older Hollywood films despite limited film stock and optical options, we maintain the position that the look of a film is the product of a cinematographer's eye (rather than the technology one uses), and David elucidates how cinematographer Oswold Morris developed the desaturated look of director John Huston's adaptation of MOBY DICK using the technology available to him to serve the storytelling. We also reflect on the lost knowledge of how films were made in the early digital days of the 2000s and stress the need to study and remember filmmaking history, recent and ancient. Towards the end, we also consider director Yasujiro Ozu's prolific and effective use of a single 50mm lens when the conversation drifts towards the phenomenon of people avoiding “boring lenses”. Plus, we highlight the need to understand basic high school mathematics (no excuses!).   Cinematographers at all levels, from the aspiring to the battle-worn, can enjoy and learn from this discussion, and we hope you enjoy listening. - This episode is sponsored by Aputure

In this episode, Joe revisits the life and works of Yasujirō Ozu to give a more holistic view of the Japanese director.--------The whole RSS feed is available here > https://rss.com/podcasts/thereelthingThe Reel Thing on Social Media:Instagram > https://www.instagram.com/thereelthingpod---------All music by Wise John. https://wisejohn.com/Follow them on Instagram > https://www.instagram.com/wisejohnofficial/---------Bergen Filmklubb > https://bergenfilmklubb.no/---------Sources: Kantoku Ozu by Shiguehiko HasumiKantozu Yasujiro by Chris Fujiwara in Frames Cinema JournalTranscending Life on This Planet: The Films of Yasujirō Ozu by Wael Khairy On Yasujiro Ozu by Paul SchraderGrave of Yasujiro Ozu from Atlas Obscurahttps://en.wikipedia.org/wiki/Yasujir%C5%8D_OzuBFI article Ozu Yasujiro: the master of time by Thom AndersonJapan House article Ozu Yasujiro life and films by Jasper SharpHarvard Film Archive Ozu 120: The Complete Ozu Yasujiro by Kelley DongNippon.com article Ozu Yasujiro: A Director's Time in Tateshina by Carmen Grau Villa

Michelle and Seth sit down with Mike Koslov & Derrick Owens, two filmmakers that co-directed Month to Month, an updated take on the 90s slacker movie about a guy trying to find his stolen car in LA. They discuss making movies with limited resources, turning a wardrobe mishap into a joke and why you always say yes when someone needs a place to crash. It's a great conversation about making movies and loving them. Check it out!  Month to Month on Instagram Stony Brook Film Festival Register for our upcoming FREE live show  For all of our bonus episodes check out our Patreon Patreon supporters help pick episodes, monthly themes and get access to all of our additional shows and our Patron exclusive Discord. It's only the price of a single cup of coffee ($5 a month!) Visit our website and send us an email! Follow Movie Friends on Twitter and Instagram You scrolled this far? That's impressive.

https://notesonfilm1.com/2024/08/16/jose-arroyo-in-converssation-with-alastair-phillips-on-tokyo-story-yasujiro-ozu-1953/ I've been wanting to talk to Alastair Phillips about his ‘BFI Classic' monograph on TOKYO STORY (Yasujiro Ozu, 1953) since it was first published late last year. I found reading the book after watching the film truly illuminating, deepening and enriching the experience: a real achievement with a film already so familiar. It draws on Japanese sources not yet available in English, offering new information on the film's production and reception and combines this with Alastair's characteristically precise and informative textual analysis. It's no surprise that the book is already on its second printing. In the podcast we discuss the significance of TOKYO STORY being Ozu's first film after the American occupation; Shochiku Studios, genre, and the star system of the period; the film's reception in Japan and the lag between that and broader international release; Ozu's characteristic aesthetic, including what Nöel Burch characterised as the ‘pillow shot' ; the relation of space to place in the film; how the film is about the flow of time in its varied temporalities; the female-centric aspect of the film and what it has to say about ‘blood' families; why and how it's so moving; it's relationship to MAKE WAY FOR TOMORROW (Leo McCarey, 1937); how Ozu is not just one of the great directors of the Twentieth Centuries but, considering his work as a potter, designer, painter, photographer, calligrapher etc, might just be one of its greatest artists; why it keeps getting ranked at the top of the critics' polls decade after decade; why isn't it called THE ONOMICHI STORY …. And much more. A conversation that will hopefully incite listeners to read the book.

The Wiz RECOMMENDS Tokyo Story How can a film be both minimalistic but beautiful? Plain but profound? To the point but complex? In Yasujiro Ozu's masterpiece Tokyo Story, Ozu uses his lack of stylistics as a powerful style all it's own: he plays the film as straight and direct as possible and let's the dynamics play out as it may. The result is a film that feels like it should feel simple: a film about an elderly couple visiting their kids who don't have time for them is about as succinct as it can get. But it's depths come from the subtle nuances of the performances by the elderly couple, the questions that the film asks and the direct but compassionate answers it provides. It's both sobering, sad and tragic without it feeling overbearing and over dramatic. It's no wonder why filmmakers and film lovers heap it so much praise: it does so damn much with so little.

Tokyo Story is on numerous lists of the best films of all time. It’s in my personal top five. This movie is considered the masterpiece by legendary filmmaker Yasujiro Ozu, and it stars his luminous muse, Setsuko Hara. Tokyo Story is a black and white time capsule of life in Japan after World War II and depicts how the war and Japan’s modernization disrupted its family dynamic. Compared with the boldness of Akira Kurosawa’s movies, it’s sedate and thoughtful, and you may easily find yourself shedding a tear or two. Micheline Maynard with Shelly Brisbin and Nathan Alderman.

Tokyo Story is on numerous lists of the best films of all time. It’s in my personal top five. This movie is considered the masterpiece by legendary filmmaker Yasujiro Ozu, and it stars his luminous muse, Setsuko Hara. Tokyo Story is a black and white time capsule of life in Japan after World War II and depicts how the war and Japan’s modernization disrupted its family dynamic. Compared with the boldness of Akira Kurosawa’s movies, it’s sedate and thoughtful, and you may easily find yourself shedding a tear or two. Micheline Maynard with Shelly Brisbin and Nathan Alderman.

This week Harrison will review "Floating Weeds" (1959) starring Ganjiro Nakamura and directed by Yasujiro Ozu #floatingweeds #ganjironakamura #yasujiroozu #reelyoldmovies Theme Song: "The Good For Nothing" starring Charlie Chaplin Released 1914 https://youtu.be/3RKsuoX_bnU Social Media Links: https://linktr.ee/reelyoldmovies --- Send in a voice message: https://podcasters.spotify.com/pod/show/reelyoldmovies/message

In this episode- recorded last summer- I finally return to the wonderful world of 1940s cinema and- in particular- to the work of Yasujirō Ozu (the director of 'Tokyo Story') with a solo conversation about his 1949 film, 'Late Spring' (a film well worth watching, if you get the chance). And even though it's a short episode I find time to talk about a number of things but- in particualr- I look at this film from a queer perspective. I also have things to say about The Game of Life.

Welcome to It's A Wonderful Podcast!! There have been a small handful of Japanese movies covered on this show in the past, but not one like this. Morgan and Jeannine continue the World Cinema series talking the beautifully moving, quiet, understated, and thoroughly universal portrait of a family's complacency, regret, and heartfelt understanding; TOKYO STORY (1953)! Directed with impeccable precision and humanity by Yasujiro Ozu, he seems to have perfected a fondness for domestic-based dramas with this continually revered movie! Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://its-a-wonderful-podcast.creator-spring.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_ Keep being wonderful!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support

On the two hundred and thirty-sixth episode of THE THIRD ACT PODCAST the crew is making their shadows overlap.The crew gets in front of the mics to talk about two films from Wim Wenders for a theme we're calling, Wenders' Game. We dig into the story of a quiet man who cleans bathrooms in PERFECT DAYS. We also check out a documentary exploring the city of Tokyo and work of Yasujiro Ozu in TOKYO-GA. We also discuss Adam Sandler, golf, and TikTok.Keep in touch with us on Instagram and email us anytime at: TheThirdActPodcast@gmail.com  

For their 50th episode The Searchers return to the genre that inspired the podcast's title and connected the three of them in the first place, The Western, with a review of the The Tall T (1957). Topics discussed during the review include The Ranown Cycle, Randolph Scott's career in the 1950s, A vs B westerns, Anthony Mann/James Stewart collaborations, and more. Cheers to another 50 episodes. Thanks for listening! As of March 2024, find The Tall T on Tubi for free! Tune into the next episode for a review of a Yasujiro Ozu film with another guest! Submit your mailbags to us at thesearcherspodcast@gmail.com. We'll read it on air. Please rate us a 5/5, and review us on Apple, Spotify, or wherever you listen to us. Follow us on Letterboxd.com if you'd like to see what we've recently watched and/or reviewed. Ben, Chris, & Kevin Our episode catalogue: https://searchersfilmpodcast.podbean.com/

This week we end out our Yasujirô Ozu Film Festival with his most adored film from 1953, Tokyo Story. His most retrospective film about elderly grandparents visiting their kids only to be ignored and pawned off. This is a call your grandma movie. Enjoy the conversation! Make sure to play along with each festival and leave comments so we can interact with you and remember to subscribe to the channel if you like what you see. Follow us for more interaction and content: INSTAGRAM: https://instagram.com/deepdivefilmschool YOUTUBE: https://www.youtube.com/deepdivefilmschool TIKTOK: https://www.tiktok.com/@deepdivefilmschool Join our growing community for new videos every week!

For our January Special Subject, we look at three silent "family comedies" by Ozu, Tokyo Chorus (1931), I Was Born, But... (1932), and Passing Fancy (1933), although we argue that "comedy" doesn't entirely encompass the emotional range of these films. We argue that the melancholy of late Ozu is already discernible in these tales of father-son conflict and confrontation with life's disappointing nature, although Passing Fancy offers a different kind of father-son relationship and unique brand of comedy. Then in Fear and Moviegoing in Toronto, we discuss Robert Rossen's The Hustler as a blacklisting allegory and the cinematic pyrotechnics of Brian De Palma's Snake Eyes.  Time Codes: 0h 00m 45s:      TOKYO CHORUS (1931) [dir. Yasujiro Ozu] 0h 26m 53s:      I WAS BORN, BUT… (1932) [dir. Yasujiro Ozu] 0h 38m 36s:      PASSING FANCY (1933) [dir. Yasujiro Ozu] 0h 57m 41s:      Fear and Moviegoing in Toronto – The Hustler (1961) directed by Robert Rossen & Snake Eyes (1998) directed by Brian De Palma +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

This week we continue to dive into the wonderful world of Yasujirô Ozu with his 1949 film Late Spring about young Noriko gets societal pressure to marry but battles with her desire to continue to take care of her ailing father. Amazing Ozu and great conversation! Enjoy!

Widely considered one of the greatest films ever made, Yasujiro Ozu's Tokyo Story is a quiet, gentle yet tragic family drama about the distance that can grow between elderly parents and their adult children. It's a critique of the transformation of culture and mores in postwar Japan, particularly the loss of filial piety, but it's not just specific to Japanese culture. The film holds a mirror up to both parents and children, and if it is critical of those who fail to honor and love their elderly parents, it also shows that this is often a result of the parents having failed their children when they were younger. Tokyo Story should provoke an examination of conscience in viewers of every generation. Irish Catholic multimedia commentator Ruadhan Jones returns to the podcast to discuss this canonical work of Japanese cinema. Links Ruadhan Jones links https://linktr.ee/ruadhanjones SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to make this show possible! http://catholicculture.org/donate/audio Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

On this episode of They Live By Film, Adam and Chris sit down to discuss three films by Japanese master, Yasujiro Ozu.CHECK OUT OUR NEW YOUTUBE CHANNEL: https://www.youtube.com/@theylivebyfilmAdam's Letterboxd: https://letterboxd.com/TheOwls23/Zach's Letterboxd: https://letterboxd.com/dharmabombs/Chris' subreddit: https://www.reddit.com/r/personalhistoryoffilm

This week we dive into first episode of the inspiring Japanese filmmaker, Yasujirô Ozu. We discuss his 1959 film Floating Weeds about a traveling actor of a famous kabuki show tries to re-kindle a life with his son who doesn't know who he really is. Fascinating director and conversation. Enjoy!

This week, we're reposting an episode on a film that has come up a lot since we watched it over five years ago, including during our last episode on Past Lives. If a film has stayed in the conversation as long as this one has, it is worth a second look to those who might have missed it.. Tokyo Story (1953), directed by Yasujiro Ozu.

For our Ozu Noir-vember Special Subject, we look at three silent films by Yasujirō Ozu, Walk Cheerfully (1930), That Night's Wife (1930), and Dragnet Girl (1933), that not only bear a fascinating relationship to each other but also seemingly inaugurate the gangster film in Japan and anticipate (we argue) American film noir more closely even than French poetic realism, as well as the Nouvelle Vague. Join us as we marvel at Ozu's rapid evolution as a stylist and storyteller in the space of three years, and stick around to listen to our Fear and Moviegoing in Toronto segment on Scorsese's Killers of the Flower Moon.  Time Codes: 0h 00m 45s:      WALK CHEERFULLY (1930) [dir. Yasujiro Ozu] 0h 23m 49s:      THAT NIGHT'S WIFE (1930) [dir. Yasujiro Ozu] 0h 37m 54s:      DRAGNET GIRL (1934) [dir. Yasujiro Ozu] 1h 01m 53s:      Fear & Moviegoing in Toronto – Martin Scorsese's Killers of the Flower Moon (2023)  +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Conrado and Rachel talk about GENTLEMEN PREFER BLONDES, directed by Howard Hawks and starring Jane Russell and the legendary Marilyn Monroe. They also have brief conversations about Yasujiro Ozu's TOKYO STORY, Wes Anderson's ASTEROID CITY, as well as new raunchy comedies NO HARD FEELINGS and JOY RIDE. Follow us on itunes and leave you ratings and reviews: https://podcasts.apple.com/us/podcast/the-criterion-project/id1479953904 Follow us on anchor https://anchor.fm/criterionproject Follow our twitter at https://twitter.com/criterionpod Check out Conrado's webseries WORMHOLES on youtube https://www.youtube.com/channel/UC51Tg9gR5mXxEeaansRUYRw Follow Conrado's blog cocohitsny.wordpress.com/  Follow Conrado on Letterboxd https://letterboxd.com/cofalco21/ Listen to Conrado's other podcasts like Foreign Invader and Movie Marriage: https://podcasts.apple.com/us/podcast/foreign-invader/id1552560225 Rachel's Patreon: https://www.patreon.com/hallmarkies Follow Rachel's blog at rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Listen to Rachel's Reviews on Itunes: https://itunes.apple.com/us/podcast/rachels-reviews/id1278536301?mt=2 Listen to  Hallmarkies Podcast at https://podcasts.apple.com/us/podcast/hallmarkies-podcast/id129672828 Our theme music is written by Michael Lloret: https://www.michael-lloret.com/  --- Support this podcast: https://podcasters.spotify.com/pod/show/criterionproject/support

It was about time we covered a Yasujiro Ozu film. The Japanese director is considered a legend and his Tokyo Story has consistently ranked in the Top 5 of the Sight & Sound polls for decades. He gives us a family reunion of a very unhappy family and slowly reveals why we should care about them. That takes quite a while. Ozu's trademark static camera shots are low to the ground. His characters are polite and withholding. And, yet, his style and substance wasn't a home run with both Ellises. Tokyo Story devastated one of us while leaving the other one moved, but much less so. Anyway, stroke that play button while you sit cross-legged on the floor staring off into space with a polite smile on your face. After all, life is disappointing, but we don't think our 510th podcast is. Residents of Japan can't get Sparkplug Coffee delivered to their front door, but Canadians and Americans certainly can. Punch in "sparkplug.coffee/hyes" and get a one-time 20% discount. We are people who scroll through Twitter (@moviefiend51 and @bevellisellis) and you can also email us (haveyoueverseenpodcast@gmail.com). Each of our 2023 episodes are available on YouTube. Lately, it's just been the full show with a still-frame graphic, but we have in the past---and intend to again at some point---appear on camera for 8 or 10 minutes before the show begins. Ryan also posts sports movie podcasts every other Thursday on "Scoring At The Movies"...at least until June 7th.

City Lights in conjunction with Asian American Writers' Workshop and University of California Press present a tribute to the life and work of Theresa Hak Kyung Cha. Moderated by Linda Norton with appearances by Brandon Shimoda, Min Sun Jeon, and Christina Yang celebrating the publication of two new books from University of California Press: "Dictee" and "Exilee and Temps Morts: Selected Works." This event was originally broadcast via Zoom and hosted by Peter Maravelis. You can purchase copies of "Dictee" directly from City Lights here: https://citylights.com/general-fiction/dictee-2/ And "Exilee and Temps Morts: Selected Works" here:https://citylights.com/general-poetry/exilee-temps-morts-sel-works/ Theresa Hak Kyung Cha (1951–1982) was a poet, filmmaker, and artist who earned her BA and MA in comparative literature and her BA and MFA in art from the University of California, Berkeley. During her brief yet brilliant career, Theresa Hak Kyung Cha explored a variety of media, including handmade books, video, film, sculpture, performance, and sound. Her work is distinctive for its somber, unforgettable beauty, its innovative treatment of texts and images, and its ongoing, rigorous exploration of the phenomena of physical, cultural, and linguistic displacement. One element linking much of her work is an abiding concern with film and film theory. Cha's aesthetic influences are to be found much less among contemporary artists than among the works of filmmakers such as Chris Marker, Yasujiro Ozu, Jean-Luc Goddard, Marguerite Duras, Michael Snow, and above all, Carl Th. Dreyer. She was especially influenced by their innovative treatments of narrative and their concern for problems of memory, communication, and consciousness. Cha was also influenced by her studies of French film theory, particularly the scholarship of Christian Metz, Jean-Louis Baudry, Thierry Kuntzel, and Bertrand Augst. From these theorists, Cha developed an awareness of the artwork as an extended “apparatus,” the meaning of which was inscribed between its psychological origin in the artist, its material and temporal existence, and its destination in the viewer's consciousness. While Cha developed her response to these ideas particularly in her live performances, they can be seen to have considerably influenced her work in other media as well. Cha, who died tragically in New York City in 1982, received her MFA from the University of California at Berkeley in 1978, and was an employee of the University Art Museum and Pacific Film Archive (Special thanks to BAMPFA for the use of this biography). The Asian American Writers' Workshop (AAWW) is a national literary nonprofit dedicated to publishing and incubating work by Asian and Asian diasporic writers, poets, and artists. Since their founding in 1991, they have provided a countercultural literary arts space at the intersection of migration, race, and social justice. Find out more at aaww.org. To learn more about the speakers in this tribute, visit: https://citylights.com/events/dreaming-of-theresa-hak-kyung-cha-an-appreciation/ And if you would like to see any of the visuals shared during this event, you can check out the video on YouTube: https://www.youtube.com/watch?v=tBZ_-hEqC3c This event was made possible by support from the City Lights Foundation: citylights.com/foundation

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本期摘要 朋友们四月好，过度分享的「异乡生活」系列还活着！在这期很特殊的节目里（哪里特殊听就知道），我（solo 出道的好小气）和之前读硕士时的导师Dave一起聊了聊他喜欢的东亚电影，又扯了一些关于今年奥斯卡的闲话。Dave是我遇到过阅读和观影经历最最丰富的人之一，也是我认识的美国人里为数不多会看非英语电影的人。作为影迷我们也有着比较类似的偏好，比如都喜欢看呈现混乱和复杂生活的电影，喜欢家庭伦理剧(aka dysfunctional family drama)，比起用电影呈现人性的光辉，我们更偏向于看到人物的脆弱和失败，看到"humanity being defeated." 我特别喜欢他在节目里说的，“人生时常很艰难，但也总有微小的快乐闪光。”希望大家听得开心！另外，本期的shownotes非常壮观。 为了方便大家收听，大概说一下我们聊了什么： 自我介绍：我让Dave大概聊了聊他看电影的历史。他成长于七十年代的美国中西部，小的时候每周会在父母的推荐下去镇上唯一的一家影院看那周唯一上映的电影；长大后在UIUC（李安的母校）读研究所，就开始看一些艺术院线里的非英语片，包括看的第一部李安的电影《饮食男女》。 我让他列了一个“最爱的东亚电影”前十名清单，大家可以在下面查看，然后我们从第十名到第一名聊了聊他为什么喜欢这些电影。 又不能免俗地聊了奥斯卡，我们俩对今年奥斯卡的喜好非常不同，但也没关系。 最后他推荐了自己最近读过很喜欢的两本书，都和美国的种族问题有关。他说，“作为美国人，种族问题是我们无法回避的历史遗产。” Intro: What The River Knows by Holizna Outro: Yumeji's Theme (Theme from 'in the Mood for Love') · Shigeru Umebayashi Dave最爱的十部东亚电影 （他每个导演只选了一部） Parasite (2019, Bong Joon-ho, South Korea) 奉俊昊 寄生虫 Crouching Tiger, Hidden Dragon (2000, Ang Lee, Taiwan) 李安 卧虎藏龙 Drive My Car (2021, Ryusuke Hamaguchi, Japan) 滨口龙介 驾驶我的车 Seven Samurai (1954, Akira Kurosawa, Japan) 黑泽明 七武士 Tokyo Story (1953, Yasujiro Ozu, Japan) 小津安二郎 东京物语 The Handmaiden (2016, Park Chan-wook, South Korea) 朴赞郁 小姐 The Farewell (2019, Lulu Wang, USA) 王子逸 别告诉她 Yi Yi (2000, Edward Yang, Taiwan) 杨德昌 一一 In the Mood for Love (2000, Wong Kar-wai, Hong Kong) 王家卫 花样年华 Shoplifters (2018, Hirokazu Koreeda, Japan) 是枝裕和 小偷家族 Dave推荐的书 The Love Songs of W.E.B. Du Bois Kindred 我们提到的其他电影 黄金时代 The Best Years of Our Lives 饮食男女 Eat Drink Man Woman 如父如子 Like Father Like Son 步履不停 Still Walking 分手的决心 Decision to Leave 斯托克 Stoker 指匠 Fingersmith 罗生门 Rashomon 豪勇七蛟龙 The Magnificent Seven 小妈妈 Petite maman 喜宴 The Wedding Banquet 推手 Pushing Hands 冰风暴 The Ice Storm 理智与情感 Sense and Sensibility 色，戒 Lust, Caution 瓦嘉达 Wadjda 一次别离 A Separation 关于伊丽 About Elly 一个英雄 A Hero 开罗紫玫瑰 The Purple Rose of Cairo 游客 Force Majeure 我们讲述的故事 Stories We Tell 罗密欧与朱丽叶 Romeo + Juliet 杀手没有假期 In Bruges 七个神经病 Seven Psychopaths 节目备注 好小气的电报频道 好小气的长毛象 支持我们 订阅听友通讯请点击这里。 欢迎通过微博关注我们的节目@不丧Podcast和女主播@constancy好小气。 关于线上读书微信群：由于目前群人数超过200人，无法继续通过扫码入群。想要入群的朋友可以先加我的微信号（ID: hongming_qiao），然后再拉你入群。 我们的电报(Telegram)听友群：不丧电报群 我们播客的邮箱地址：busangpodcast@gmail.com 女主播“单飞不解散”新播客一人有一个 搜索节目名称或直接添加RSS收听：https://oneatatime.typlog.io/episodes/feed.xml

本期摘要 朋友们四月好，过度分享的「异乡生活」系列还活着！在这期很特殊的节目里（哪里特殊听就知道），我（solo 出道的好小气）和之前读硕士时的导师Dave一起聊了聊他喜欢的东亚电影，又扯了一些关于今年奥斯卡的闲话。Dave是我遇到过阅读和观影经历最最丰富的人之一，也是我认识的美国人里为数不多会看非英语电影的人。作为影迷我们也有着比较类似的偏好，比如都喜欢看呈现混乱和复杂生活的电影，喜欢家庭伦理剧(aka dysfunctional family drama)，比起用电影呈现人性的光辉，我们更偏向于看到人物的脆弱和失败，看到"humanity being defeated." 我特别喜欢他在节目里说的，“人生时常很艰难，但也总有微小的快乐闪光。”希望大家听得开心！另外，本期的shownotes非常壮观。 为了方便大家收听，大概说一下我们聊了什么： 自我介绍：我让Dave大概聊了聊他看电影的历史。他成长于七十年代的美国中西部，小的时候每周会在父母的推荐下去镇上唯一的一家影院看那周唯一上映的电影；长大后在UIUC（李安的母校）读研究所，就开始看一些艺术院线里的非英语片，包括看的第一部李安的电影《饮食男女》。 我让他列了一个“最爱的东亚电影”前十名清单，大家可以在下面查看，然后我们从第十名到第一名聊了聊他为什么喜欢这些电影。 又不能免俗地聊了奥斯卡，我们俩对今年奥斯卡的喜好非常不同，但也没关系。 最后他推荐了自己最近读过很喜欢的两本书，都和美国的种族问题有关。他说，“作为美国人，种族问题是我们无法回避的历史遗产。” Intro: What The River Knows by Holizna Outro: Yumeji's Theme (Theme from 'in the Mood for Love') · Shigeru Umebayashi Dave最爱的十部东亚电影 （他每个导演只选了一部） Parasite (2019, Bong Joon-ho, South Korea) 奉俊昊 寄生虫 Crouching Tiger, Hidden Dragon (2000, Ang Lee, Taiwan) 李安 卧虎藏龙 Drive My Car (2021, Ryusuke Hamaguchi, Japan) 滨口龙介 驾驶我的车 Seven Samurai (1954, Akira Kurosawa, Japan) 黑泽明 七武士 Tokyo Story (1953, Yasujiro Ozu, Japan) 小津安二郎 东京物语 The Handmaiden (2016, Park Chan-wook, South Korea) 朴赞郁 小姐 The Farewell (2019, Lulu Wang, USA) 王子逸 别告诉她 Yi Yi (2000, Edward Yang, Taiwan) 杨德昌 一一 In the Mood for Love (2000, Wong Kar-wai, Hong Kong) 王家卫 花样年华 Shoplifters (2018, Hirokazu Koreeda, Japan) 是枝裕和 小偷家族 Dave推荐的书 The Love Songs of W.E.B. Du Bois Kindred 我们提到的其他电影 黄金时代 The Best Years of Our Lives 饮食男女 Eat Drink Man Woman 如父如子 Like Father Like Son 步履不停 Still Walking 分手的决心 Decision to Leave 斯托克 Stoker 指匠 Fingersmith 罗生门 Rashomon 豪勇七蛟龙 The Magnificent Seven 小妈妈 Petite maman 喜宴 The Wedding Banquet 推手 Pushing Hands 冰风暴 The Ice Storm 理智与情感 Sense and Sensibility 色，戒 Lust, Caution 瓦嘉达 Wadjda 一次别离 A Separation 关于伊丽 About Elly 一个英雄 A Hero 开罗紫玫瑰 The Purple Rose of Cairo 游客 Force Majeure 我们讲述的故事 Stories We Tell 罗密欧与朱丽叶 Romeo + Juliet 杀手没有假期 In Bruges 七个神经病 Seven Psychopaths 节目备注 好小气的电报频道 好小气的长毛象 支持我们 订阅听友通讯请点击这里。 欢迎通过微博关注我们的节目@不丧Podcast和女主播@constancy好小气。 关于线上读书微信群：由于目前群人数超过200人，无法继续通过扫码入群。想要入群的朋友可以先加我的微信号（ID: hongming_qiao），然后再拉你入群。 我们的电报(Telegram)听友群：不丧电报群 我们播客的邮箱地址：busangpodcast@gmail.com 女主播“单飞不解散”新播客一人有一个 搜索节目名称或直接添加RSS收听：https://oneatatime.typlog.io/episodes/feed.xml

With the streaming arrival of 2022 critical favorite EO, we took the opportunity to look at this rather unorthodox Polish film which provides glimpses of the range of human behavior, especially as pertains to treatment of animals, through the eyes of the titular donkey at its center. As our companion film, we review our fifth overall from the top ten of the 2022 Sight and Sound critics poll, Yasujiro Ozu's Tokyo Story from 1953, a classic of Japanese cinema that offers a methodical and patient peek at a dispersed family, tapping into some very relatable themes of generational drift and disconnect. Helping Dave and Joe wade through all this are returning guest Kyle Ferguson, our first proper Czech beer (sorry, Poland!), and a return visit to Hitachino Nest to see if can overcome the spoiled offering we had tried waaaaaay back in episode 5. It's a packed episode. Do it up! 

In a part two of a series started in January, this Funky Friday at Five continues your host, Mitch Hampton's discussion of the many styles of representing two characters in art with the example of Yasujirō Ozu - one of the greatest filmmakers of the 20th century. More on this very special livestream event with podcast host Mitch Hampton, here: "In a part two of a series started in January, this Funky Friday at Five" continues the discussion of the many styles of representing two characters in art with the example of Yasujiro Ozu- one of the greatest filmmakers of the 2oth century. Wonderful link to Criterion's collection of the films of Yasujiro Ozu: https://www.criterion.com/current/ posts/3836-the-sigmature-style-of-yasujiro-ozu --- Send in a voice message: https://podcasters.spotify.com/pod/show/mitch-hampton/message Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

Alexandre e Fred recebem mais um convidado para debater um dos grandes filmes do diretor japonês Yasujiro Ozu. Nosso amigo Hugo Harris, professor de jornalismo na faculdade Mackenzie e produtor do podcast “Cinefilia & Companhia” retorna ao PFC para conversar com a gente sobre “Pai e Filha” (Banshun, 1949), o primeiro filme de Ozu a contar com dois atores bastante importantes para sua carreira: Setsuko Hara e Chishû Ryû. A história, bastante sensível e universal, trata da separação natural entre um pai viúvo e sua filha, que deve seguir seu caminho começando sua própria família, num Japão que se moderniza rapidamente no pós-guerra, sob ocupação americana. Vários os elementos característicos da forma de filmar de Ozu ao longo de sua carreira até este momento e que estarão presentes em futuros trabalhos se concentram neste que é um dos seus melhores trabalhos. ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

In this vengeful episode of the Gavin and Ruby Go To a Movie podcast, Gavin and Ruby come back from school to review some classic Asian cinema. They start with Yasujiro Ozu's slow moving portrait of family and loss Tokyo Story, and move on to the exact opposite Oldboy a fast paced action heavy bonkers story of vengeance. Sorry that we've missed so many dates, but we hope to get back on schedule soon. Thank you for listening! Tokyo Story: 7:35 Oldboy (Spoiler Free): 26:08 Oldboy (Spoilers): 35:15 Groovie News/Recommendations: 46:28 Instagram: @gavinandrubypodcast Gavin's Letterboxd: Gavin_Lemon Ruby's Letterboxd: ruuubyv

The Criterion Break returns to tackle a big one from the Fat Dude Digs Flicks Movies You Should See series. This week, the gang dives into Yasujiro Ozu's Tokyo Story. Recently listed as the #4 Greatest Movie of All Time according to BOTH Sight & Sound polls, Tokyo Story is a slow-paced, humanist films about the life of a family in post-war Japan. The hosts of The Criterion Break are joined this week by podcast host and writer for Blood Brothers and Film Forums, Matt Reifschneider. Matt offers his thoughts on Ozu's masterpiece, as well.Derrick (dervdude) AND Blake (therealjohng) can both be found on Letterboxd. Derrick can also be found on Instagram.Andy can be found across social media at:Facebook - Fat Dude Digs FlicksInstagram - FatDudeDigsFlicksTwitter - FatDudeFlicksLetterboxd - Fat Dude FlicksJoin in on our local movie conversation at the South Dakota Film Community page/group on Facebook.Subscribe to this podcast on Apple Podcasts, Stitcher Radio, Amazon Music, Spotify or wherever you get your podcasts. Run a search and click on that subscribe button. Please take a second to rate and review the show, while you're at it! Remember, subscribing to The Criterion Break also gets you the Let's Taco ‘Bout podcast, also hosted by Andy, The Fat Dude. Let's Taco ‘Bout features a conversation with a special guest where we discuss their lives, their loves, and a movie that has had an impact on them.If you'd like to contact us for any recommendations, questions, comments, or concerns, you can email us at FatDudeDigsFlicks@gmail.com. If by some small chance you'd like to donate anything to offset the cost of movie tickets (or streaming costs during this GLOBAL pandemic) and this podcast, be it via a gift card to pay for a digital rental, you can also send that to the aforementioned email. Any recommendation and donation will be mentioned in a future episode! If you can't spare the dime, no worries: please leave a rating and/or a review, and spread the word about this podcast. Support the show

Based on a close reading of Japanese director Yasujiro Ozu's extant films, this book provides insights into the ways the director created narrative structures and used symbolism to construct meaning in his films. Against critics' insistence that Ozu was indifferent to plot and unlikely to use symbols, Geist reveals the director's subtle iconographic paradigms. Her incisive understanding of the historical and cultural context in which the films were conceived amplifies her analysis of the films' structure and meaning. Ozu: A Closer Look (Hong Kong UP, 2022) guides the reader through Ozu's earliest silent films, his sound films made during the wartime period and subsequent American Occupation of Japan, and finally takes up specific themes relevant to his later, better-known films. Geist also examines the impact that Ozu's films had on specific directors in Europe, America, and Japan. Intended for film scholars, students, and fans of the director, this book provides fresh insights into the director's films and new challenges in studies on Ozu. Kathe Geist is an art historian and author of The Cinema of Wim Wenders. Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Based on a close reading of Japanese director Yasujiro Ozu's extant films, this book provides insights into the ways the director created narrative structures and used symbolism to construct meaning in his films. Against critics' insistence that Ozu was indifferent to plot and unlikely to use symbols, Geist reveals the director's subtle iconographic paradigms. Her incisive understanding of the historical and cultural context in which the films were conceived amplifies her analysis of the films' structure and meaning. Ozu: A Closer Look (Hong Kong UP, 2022) guides the reader through Ozu's earliest silent films, his sound films made during the wartime period and subsequent American Occupation of Japan, and finally takes up specific themes relevant to his later, better-known films. Geist also examines the impact that Ozu's films had on specific directors in Europe, America, and Japan. Intended for film scholars, students, and fans of the director, this book provides fresh insights into the director's films and new challenges in studies on Ozu. Kathe Geist is an art historian and author of The Cinema of Wim Wenders. Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The seventh episode of our season on the awesome movie year of 1953 features our foreign film pick, Yasujiro Ozu's Tokyo Story. Co-written and directed by Yasujiro Ozu and starring Chishū Ryū, Chieko Higashiyama, Setsuko Hara, Haruko Sugimura and So Yamamura, Tokyo Story was released in Japan in 1953 but didn't open in the U.S. until 1972.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/tokyo-story-1953), Kenneth Turan in the Los Angeles Times, and Stanley Eichelbaum in the San Francisco Examiner.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1953 installment, featuring Jason's personal pick, Marlon Brando biker drama The Wild One.

Based on a close reading of Japanese director Yasujiro Ozu's extant films, this book provides insights into the ways the director created narrative structures and used symbolism to construct meaning in his films. Against critics' insistence that Ozu was indifferent to plot and unlikely to use symbols, Geist reveals the director's subtle iconographic paradigms. Her incisive understanding of the historical and cultural context in which the films were conceived amplifies her analysis of the films' structure and meaning. Ozu: A Closer Look (Hong Kong UP, 2022) guides the reader through Ozu's earliest silent films, his sound films made during the wartime period and subsequent American Occupation of Japan, and finally takes up specific themes relevant to his later, better-known films. Geist also examines the impact that Ozu's films had on specific directors in Europe, America, and Japan. Intended for film scholars, students, and fans of the director, this book provides fresh insights into the director's films and new challenges in studies on Ozu. Kathe Geist is an art historian and author of The Cinema of Wim Wenders. Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Based on a close reading of Japanese director Yasujiro Ozu's extant films, this book provides insights into the ways the director created narrative structures and used symbolism to construct meaning in his films. Against critics' insistence that Ozu was indifferent to plot and unlikely to use symbols, Geist reveals the director's subtle iconographic paradigms. Her incisive understanding of the historical and cultural context in which the films were conceived amplifies her analysis of the films' structure and meaning. Ozu: A Closer Look (Hong Kong UP, 2022) guides the reader through Ozu's earliest silent films, his sound films made during the wartime period and subsequent American Occupation of Japan, and finally takes up specific themes relevant to his later, better-known films. Geist also examines the impact that Ozu's films had on specific directors in Europe, America, and Japan. Intended for film scholars, students, and fans of the director, this book provides fresh insights into the director's films and new challenges in studies on Ozu. Kathe Geist is an art historian and author of The Cinema of Wim Wenders. Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Based on a close reading of Japanese director Yasujiro Ozu's extant films, this book provides insights into the ways the director created narrative structures and used symbolism to construct meaning in his films. Against critics' insistence that Ozu was indifferent to plot and unlikely to use symbols, Geist reveals the director's subtle iconographic paradigms. Her incisive understanding of the historical and cultural context in which the films were conceived amplifies her analysis of the films' structure and meaning. Ozu: A Closer Look (Hong Kong UP, 2022) guides the reader through Ozu's earliest silent films, his sound films made during the wartime period and subsequent American Occupation of Japan, and finally takes up specific themes relevant to his later, better-known films. Geist also examines the impact that Ozu's films had on specific directors in Europe, America, and Japan. Intended for film scholars, students, and fans of the director, this book provides fresh insights into the director's films and new challenges in studies on Ozu. Kathe Geist is an art historian and author of The Cinema of Wim Wenders. Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The sixth episode of our season on the awesome movie year of 1953 features Josh's personal pick, Howard Hawks' Gentlemen Prefer Blondes. Directed by Howard Hawks, adapted from Anita Loos' novel and stage musical, and starring Marilyn Monroe, Jane Russell, Charles Coburn, Elliott Reid and Tommy Noonan, Gentlemen Prefer Blondes was the seventh highest-grossing film of 1953.The contemporary reviews quoted in this episode come from Bosley Crowther in The New York Times (https://www.nytimes.com/1953/07/16/archives/the-screen-in-review-gentlemen-prefer-blondes-at-roxy-with-marilyn.html), William Brogdon in Variety (https://variety.com/1953/film/reviews/gentlemen-prefer-blondes-2-1200417560/), and Kate Cameron in the New York Daily News.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1953 installment, featuring our foreign film pick, Yasujiro Ozu's Tokyo Story.

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

Jackie and Greg return to the world of Yasujiro Ozu for the first installment in his "Noriko Trilogy", LATE SPRING (Banshun) from 1949. Topics of discussion include post-war Japan, the quiet devastation of the film, Setsuko Hara's smile, pillow shots, and the enigmatic vase which appears before the film's climax.#15 on Sight & Sound's "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew Cox

Kevin and Sarah take on a Patreon subscriber's pick as they review last year's melodrama WParallel Mothers, starring Penelope Cruz in an Oscar-nominated role. For the Watchlist, they discuss another family drama, Yasujiro Ozu's 1953 masterpiece Tokyo Story. The difference between drama and melodrama is hashed out. Check out the Seeing & Believing Patreon Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kevin and Sarah take on a Patreon subscriber's pick as they review last year's melodrama WParallel Mothers, starring Penelope Cruz in an Oscar-nominated role. For the Watchlist, they discuss another family drama, Yasujiro Ozu's 1953 masterpiece Tokyo Story. The difference between drama and melodrama is hashed out. Check out the Seeing & Believing Patreon Learn more about your ad choices. Visit podcastchoices.com/adchoices