Relevant bibliographies by topics / Takeshi Kitano

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Takeshi Kitano'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Takeshi Kitano"

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Sáez-González, Jesús Miguel. "Takeshis' (Takeshi Kitano)." Vivat Academia, no. 87 (July 15, 2007): 21. http://dx.doi.org/10.15178/va.2007.87.21-22.

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Daisuke Miyao. "Kitano Takeshi (review)." Cinema Journal 49, no. 2 (2010): 172–75. http://dx.doi.org/10.1353/cj.0.0181.

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Hall, Ken. "Blind Swordsman: Zatoichi by Kitano Takeshi: Not a Mere "Entertainment"." Asian Cinema 16, no. 2 (2005): 45–61. http://dx.doi.org/10.1386/ac.16.2.45_1.

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Gerow, Aaron. "A Scene at the Threshold: Liminality in the Films of Kitano Takeshi." Asian Cinema 10, no. 2 (1999): 107–15. http://dx.doi.org/10.1386/ac.10.2.107_1.

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Johnson, Daniel. "Kitano Takeshi. By Aaron Gerow. London: British Film Institute, 2007. 1 pp. $25.95 (paper)." Journal of Asian Studies 68, no. 3 (2009): 977–80. http://dx.doi.org/10.1017/s0021911809990404.

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Miyao, Daisuke. "From Doppelgänger to Monster: Kitano Takeshi’s Takeshis’." Canadian Journal of Film Studies 18, no. 1 (2009): 6–23. http://dx.doi.org/10.3138/cjfs.18.1.6.

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김려실. "Takeshi Kitano’s Self-referential Aesthesis in Takeshis’." Contemporary Film Studies 7, no. 1 (2011): 119–39. http://dx.doi.org/10.15751/cofis.2011.7.1.119.

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Karatsu, Rie. "Innovation as Conservation: Reflexivity, National Cinema, and Male Hegemony in Takeshi Kitano’s Hana-bi." Arts 7, no. 4 (2018): 71. http://dx.doi.org/10.3390/arts7040071.

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The article aims to illuminate the intersections of reflexivity, national cinema, and male hegemony in Takeshi Kitano’s award-winning film Hana-bi (1997). Hana-bi marks a transition to a discourse espousing Japaneseness, particularly the dominant male versions of national identity in Kitano’s filmmaking. The article assesses the impact of reflexivity that plays a crucial role in the discourse. To demonstrate these ideas, this article is separated into two sections. The first section discusses the problematic concepts of national cinema, analyzes the cultural and industrial contexts that inform
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wook steven heo. "The Advent of New Asian Film Noir －Takeshi Kitano’s Hana-Bi－." journal of the moving image technology associon of korea 1, no. 22 (2015): 87–98. http://dx.doi.org/10.34269/mitak.2015.1.22.005.

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Sim, Gerald. "The Man Who Re-Shot John Wayne: Kitano Takeshi's Search for a Globalist Vision." Asian Cinema 17, no. 2 (2006): 146–54. http://dx.doi.org/10.1386/ac.17.2.146_1.

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Dissertations / Theses on the topic "Takeshi Kitano"

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Debska, Kinga Izabela. "Kino Takeshi Kitano." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78767.

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Hoaas, Terje. "Takeshi Kitano : i sin egen beat /." Oslo : Institutt for medier og kommunikasjon, Universitetet i Oslo, 2008. http://www.duo.uio.no/publ/mediekomm/2008/80551/HoaasxTerje_Masteroppgave_V2008.pdf.

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Bingham, Adam R. "Kitano Takeshi : authorship, genre & stardom in Japanese cinema." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10339/.

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Kitano Takeshi is, quite simply and inescapably, unlike any other artist at work in the world today. In his native Japan he is one of the most popular and enduring entertainers of the last thirty years. Under the stage name Bi"to (Beat) Takeshi he is famous as a stand-up comedian, a film actor and a television personality. With up to seven shows every week on Japanese television, he is a perennial, ubiquitous figure: someone who can move from vulgar comedy to talk shows about the Japanese economy or about the Japanese themselves and back with apparent ease. Elsewhere (most often under his real
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Wada, Maho. "Stille Gewalt Inszenierungen des Todes in den Filmen von Takeshi Kitano." Berlin Avinus-Verl, 2005. http://www.avinus.de/html/academia.html.

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Ferreira, Gustavo Henrique Lima. "O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12450.

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Made available in DSpace on 2014-12-17T14:00:16Z (GMT). No. of bitstreams: 1 GustavoHLF_DISSERT.pdf: 3924018 bytes, checksum: bc74d5a5eaa0af5f13f6540a971871f3 (MD5) Previous issue date: 2013-03-06<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reve
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Mialou, Gérald. "Le cinéma de Kitano Takeshi : l'amour et la mort, dualité au coeur de la violence." Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/in/theses/2009_in_mialou_g.pdf.

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Entre 1989 et 2009, le metteur en scène japonais Kitano Takeshi réalisa quatorze longs métrages. Auteur de ses propres scénarios, il aborda des genres variés allant des films de yakuza à la simple comédie. Les thématiques de l'amour, la mort et la violence sont apparues de manière récurrente dans ces réalisations, laissant apparaître une vision très personnelle de la société japonaise contemporaine. Par une étude détaillée des œuvres du cinéaste appuyée sur les déclarations et écrits de Kitano Takeshi ainsi que par une étude philosophique, sociologique et religieuse des thèmes concernés, cette
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Park, Heui-Tae. "Deux modes fondamentaux de la création cinématographique : au-delà de l'émotion (Takeski Kitano) et au-delà du visible (Hong Sangsoo)." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30095.

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Selon le philosophe Gilles Deleuze, l’arrivée du néo-réalisme italien constitue le point de passage entre une forme classique du cinéma (L’image-mouvement) et une forme moderne (L’image-temps) entre le cinéma moderne. Une telle distinction est largement approuvée par les théoriciens, les critiques les historiens du cinéma. Loin de correspondre à unerupture historique, elle renvoie à deux types de cinéma qui possèdent leurs propres caractéristiques. Cette étude envisage dans un premier temps d’aborder, à partir de la typologie deleuzienne, les spécificités de chacun de ces régimes du point de v
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Books on the topic "Takeshi Kitano"

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Abe, Kasho. Beat Takeshi vs. Takeshi Kitano. Kaya Press, 2005.

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Abe, Casio. Beat Takeshi vs. Takeshi Kitano. Kaya Press, 2005.

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Abe, Kashō. Beat Takeshi vs. Takeshi Kitano. Kaya Press, 2005.

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Takeshi Kitano: Outremarge. Aléas, 2007.

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Cartier, Fondation, ed. Beat Takeshi Kitano: Gosse de peintre = Kitano Takeshi/Bīto Takeshi : ekaki kozō. Fondation Cartier pour l'art contemporain, 2010.

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Ichirō, Kitano Takeshi kyatsuchibōru. Pia Kabushiki Kaisha, 2003.

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Luciano, Barcaroli, Hintermann Carlo, and Villa Daniele, eds. Il cinema nero di Takeshi Kitano: Con tre sceneggiature, Sonatine, Hana-Bi, Brother. Ubulibri, 2001.

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Toshokan, Kunitachi Ongaku Daigaku. Takeuchi Michitaka kitaku bunko mokuroku. Kunitachi Ongaku Daigaku Fuzoku Toshokan, 1989.

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interviewer, Momo Alberto, ed. Atlante sentimentale del cinema per il XXI secolo: Conversazioni con Abel Ferrara, Adolfo B. Alix jr., Aki Kaurismaki, Alberto Grifi, Aleksandr Sokurov, Amir Naderi, Amos Gitai, Andrej Ujica, Angela Ricci Lucchi, Atom Egoyan, Béla Tarr, David Lynch, Enrico Ghezzi, Franco Maresco, Frederick Wiseman, George Romero, Goutam Ghose, Hou Hsiao-hsien, Jean-Marie Straub, Jia Zhang-ke, John Torres, Johnnie To, Julio Bressane, Khavn de la Cruz, Kira Muratova, Kiyoshi Kurosawa, Lav Diaz, Lee Kang-sheng, Lisandro Alonso, Manoel de Oliveira, Mohsen Makhmalbaf, Monte Hellman, Naomi Kawase, Onde filippine, Otar Iosseliani, Paulo Rocha, Pedro Costa, Philippe Garrel, Quentin Tarantino, Raoul Ruiz, Raya Martin, Roger Corman, Shinya Tsukamoto, Stan Brakhage, Takeshi Kitano, Tonino De Bernardi, Tsai Ming-liang, Wai Ka-fai, Wang Bing, Werner Herzog, Yervant Gianikian, Želimir Žilnik. DeriveApprodi, 2013.

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Miranda, Luis. Takeshi Kitano. Ediciones Catedra S.A., 2007.

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Book chapters on the topic "Takeshi Kitano"

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Rohdie, Sam. "Takeshi Kitano." In Montage. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141699.00009.

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Rohdie, Sam. "Takeshi Kitano (2)." In Montage. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141699.00010.

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Redmond, Sean. "Standing Outside Office Kitano." In The Cinema of Takeshi Kitano. Columbia University Press, 2013. http://dx.doi.org/10.7312/columbia/9780231163330.003.0007.

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"Conclusion: Standing Outside Office Kitano." In The Cinema of Takeshi Kitano. Columbia University Press, 2013. http://dx.doi.org/10.7312/redm16332-007.

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Redmond, Sean. "Starring Kitanos." In The Cinema of Takeshi Kitano. Columbia University Press, 2013. http://dx.doi.org/10.7312/columbia/9780231163330.003.0005.

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"4. Starring Kitanos." In The Cinema of Takeshi Kitano. Columbia University Press, 2013. http://dx.doi.org/10.7312/redm16332-005.

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"Acknowledgements." In The Cinema of Takeshi Kitano. Columbia University Press, 2013. http://dx.doi.org/10.7312/redm16332-001.

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"1. Time, Space and Whatever." In The Cinema of Takeshi Kitano. Columbia University Press, 2013. http://dx.doi.org/10.7312/redm16332-002.

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"2. Flowering Blood." In The Cinema of Takeshi Kitano. Columbia University Press, 2013. http://dx.doi.org/10.7312/redm16332-003.

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"3. Intense Alterity." In The Cinema of Takeshi Kitano. Columbia University Press, 2013. http://dx.doi.org/10.7312/redm16332-004.

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