Monday Evenings 19.00
April 1-June 3, 2002
Free and Open to the Public.
(Suzuki Seijun 1966)
|Tokyo Drifter is irresistible. It pursues its own aesthetics
with a committed whimsy as contagious as the themesong that the protagonist
meta-diegetically sings at key moments in the plot. It is also an indictment
of capitalism, in depicting a confrontation between former yakuza who observe
the feudal-era code of honor and the corporate-model new yakuza, who dispose
of honor as not cost-effective.
Suzuki Seijun is THE maverick filmmaker from the old school studio
system. After Suzuki completed Branded to Kill in 1968, Nikkatsu
fired him for making films that made no sense. He’s now a legend and Nikkatsu
was delighted to have the 80-plus director back behind the camera in 2001
to make Pistol Opera.
Giants and Toys
(Masumura Yasuzo 1958)
|A study of industrial espionage between the publicity departments of
two large caramel companies. A complex and fast-paced mosaic of media-mania,
capitalist cynicism, and image-manipulation. The look and dynamics of the
film are philosophical statements in themselves.
|4.12.02 Friday 7.PM
Soc Sci II Room 75
Fighting Elegy (Suzuki
[A Page of Madness]
(Kinogasa Teinosuke 1927)
|Kurutta Ippeiji is a cutting edge experimental
film of a sailor who becomes a janitor at a lunatic asylum in the hopes
of freeing his wife, committed for the attempted murder of their daughter.
Picnic an early short
film by the miraculous Iwai
Shunji. Three inmates at a lunatic asylum take a walk around
the walls of the city, and come to believe that the world is about to end.
Stars Chara and Asano
Thimann Room 3
|NOTE: All Monday Screenings Beginning Monday, 4.22.02 will
Be in Thimann Room 3.
|Note: All Wednesday
April 17 will be in Thimann Room 3.
WEDNESDAY APRIL 17
(FUKASAKU KINJI 2000)
|A series of unexplained murders, each committed by a different person
begins a struggle between the detective and . . .
Media Theater 110
mysterious film. A burnt-out policeman wanders a gloomy forest in which
the bizarre residents and visitors form warring factions over a tree that
might or might not be called charisma . . . Click HERE
for the page that gives you a choice in trailer depending on your media
application and connection speed.
(Kurosawa Kiyoshi 1998)
(Masumura Yasuzo 1960)
|This extremely stylish and sardonic gangster film also
Yukio! In one scene Masumura has him riding a pink arcade pony.
Friday May 3 7pm
(Kurosawa Kiyoshi 2001). Following the screening, I will show a brief
compilation tape I created of scenes from all the Kurosawa Kiyoshi films
we will have screened. These excerpts will serve as a demo for a way of
looking at them. It won’t take long, I promise.
Saturday, May 4. 1PM
Eureka (Aoyama Shinji
This extraordinary film about recovering from
post-traumatic shock is 3 hrs. 40 mins. long. I will show the first half
from 1pm-3.00ish. Please feel free to bring a box lunch. We’ll have a lunch
break until 3.30. After which we’ll watch the second half.
For one testimonial to this film’s specialness,
You can find a lot more of them too.
(Isaka Satoshi 1996)
|A shady television reporting crew document an introverted young man’s
obsession with his Ham radio and his electronic eavesdropping. Things get
serious when he intercepts messages from the mafia and the TV crew get
ideas about ratings.
Cowell Commons Room 132 Cowell.
For interactive program
Saturday, May 11. 1PM Thimann
Cowboy Bebop (Watanabe
Shinichiro 1998) Marathon!
Curated and Cohosted by Kristi Valenti!
This will be a selection of the best of this
extraordinary series, handpicked by Ms. Valenti, whose expertise in this
genre and with this text far exceeds my limited knowledge of either. We
will again break for lunch and break occasionally to give segue recaps
to complete the narrative train, and also to decode the more arcane subtitled
|Swallowtail Butterfly is one of the most compelling attempts
to rethink what and where Japan is. Iwai
Shunji ‚s alternative community of Shanghai Chinese, punch-damaged
American boxers, and „trans-world kids“ that comprise „Yen Town“ is a rich
texture of contradictions, communications, and aspirations. The film’s
polyglot melodrama, its image resevoir, and its sharp-eyed oneirics generate
a matrix that operates on several levels at once: historical, psycho-cultural,
(Masamura Yasuzo 1964)
|Manji is based on a Tanizaki
Jin’ichiro novel about a lesbian relationship that forms between a wealthy
Osaka housewife and a fellow student in a painting class at a local Art
relationships gain in intensity, paranoia and obsession when the two men
in the women’s lives enter the force field that binds them to each other.
Cavani also filmed a version of this story as Berlin Affair
(1990). Click HERE
for a review of Manji,
and Toys, and Blind Beast.
7.15 PM Thimann 3