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Books on the topic 'Takeshi Kitano'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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

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2

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

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3

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

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4

Takeshi Kitano: Outremarge. Aléas, 2007.

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5

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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6

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

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7

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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8

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

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9

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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10

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

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11

Kitano Takeshi. British Film Institite, 2007.

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12

Gerow, Aaron. Kitano Takeshi. British Film Institute, 1999. http://dx.doi.org/10.5040/9781838711016.

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13

Kitano, Takeshi, Casio Abe, and Daisuke Miyao. Beat Takeshi Vs. Takeshi Kitano. Muae Publishing/Kaya Press, 2004.

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14

Kitano, Takeshi. "Beat" Takeshi Kitano. Tadao Press, 1999.

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15

Gerow, Aaron. Kitano Takeshi (Bfi World Directors). British Film Institute, 2007.

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16

Kitano Takeshi (Bfi World Directors). British Film Institute, 2007.

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17

Redmond, Sean. Cinema of Takeshi Kitano: Flowering Blood. Columbia University Press, 2012.

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18

Redmond, Sean. Cinema of Takeshi Kitano: Flowering Blood. Columbia University Press, 2013.

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19

The Cinema of Takeshi Kitano Directors Cuts Paperback. Wallflower Press, 2012.

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20

Kurosawa Akira, Miyazaki Hayao, Kitano Takeshi: Nihon no sannin no enshutsuka. Rokkingu On, 1993.

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21

Myrne, Pernilla. A Jariya’s Prospects in Abbasid Baghdad. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190622183.003.0004.

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The chapter takes up several related questions surrounding slave women in Abbasid culture. It considers the image of the jawari (slave women) in modern scholarship, arguing for a cautious approach to the Arabic sources. It also looks at elite women’s relations to slave women, and the manner in which the dichotomy of free/slave intersected with gender in shaping Abbasid social hierarchies. The career of the slave poet Inan al-Natifi illustrates both the vulnerabilities and possibilities inherent to the lives of jawari. Her main biographer is Abu al-Faraj al-Isbahani, who accords her the first a

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22

Ohashi, Ryôsuke, ed. Die Philosophie der Kyôto-Schule. Verlag Karl Alber, 2016. http://dx.doi.org/10.5771/9783495860939.

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Die Philosophie der 'Kyôto-Schule', die sich in Japan über mehrere Generationen hinweg bildete, zieht gerade heute in der philosophischen Welt in Europa und den USA, aber auch in Ostasien immer regere Aufmerksamkeit auf sich. Die 1990 erschienene, aber lange vergriffene und begehrte Textsammlung dieser Schule erscheint nun in der 2. Auflage mit neuer Einführung und erweiterter Bibliographie. Zu den wichtigsten neuen Inhalten der Einführung gehört der Bericht des Herausgebers über das von ihm 2000 entdeckte Dokument 'Oshima-Memoire', das direkte Zeugnis des vom Anfang bis zur Endphase des Pazif

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23

Dulac, Anne-Valérie. Shakespeare’s Alhazen: Love’s Labour’s Lost and the History of Optics. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427814.003.0008.

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Also exploring Shakespeare’s borrowings, Anne-Valérie Dulac turns to optics and takes Love’s Labour’s Lost as her departure point. She first reminds us that in her Study of Love’s Labour’s Lost, published in 1936, Frances Yates repeatedly mentions the importance of Ahazen’s optical theory in grasping the play’s many references to light, eyes, and vision. Dulac first deals with two mistakes made by Yates in her rather short description of the 1572 edition of the Opticae Thesaurus, a compendium including a truncated Latin version of Alhazen’s treatise along with Witelo’s Perspectiva. She then de

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