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Journal articles on the topic 'Takeshi Kitano'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Fredericks, James. "The Kyoto School: Modern Buddhist Philosophy and the Search for a Transcultural Theology." Horizons 15, no. 2 (1988): 299–315. http://dx.doi.org/10.1017/s0360966900039177.

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AbstractThe author argues that the Kyoto school of modern Japanese Buddhist philosophy can contribute much to Christian reflection on the problem of a transcultural theology. Starting with the work of Nishida Kitaro in the early part of this century, the Kyoto school has attempted to express Mahayana Buddhist thought in Western philosophical categories. Articulating his own “logic” based on the Mahayana notions of emptiness and nothingness, Nishida went on to advance a fully developed philosophy of religion which offers a unique interpretation of Christian theism while presenting the Mahayana

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12

Tominaga, Thomas T. "Intuition and Reflection in Self-Consciousness. By Nishida Kitaro. Translated by Valdo H. Viglielmo with Takeuchi Toshinori and Joseph S. O'Leary. Albany: State University of New York Press, 1987, xxvi, 198 pp. $34.50 (cloth); $10.95 (paper). - Last Writings: Nothingness and the Religious Worldview. By Nishi Kitaro. Translated by David A. Dilworth. Honolulu: University of Hawaii Press, 1987. 140 pp. $18.00." Journal of Asian Studies 48, no. 1 (1989): 177–79. http://dx.doi.org/10.2307/2057715.

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13

Toh, Hai Leong. "Hana Bi." Kinema: A Journal for Film and Audiovisual Media, November 20, 2008. http://dx.doi.org/10.15353/kinema.vi.1188.

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Hana Bi (Fireworks, 1997). Japan. Dir: Takeshi Kitano. Cast: Takeshi Kitano, Kayoko Kishimoto, Ren Osugi, Susumu Terajima, Tetsu Watanabe, Hakuryu Minato-ku. After winning the Golden Lion at last year's Venice Film Festival, the elegiac and violent yakuza-cop film Hana-Bi (Fireworks) by Japanese director (Beat) Takeshi Kitano drew a full crowd at its preview at the Academy Theatre on a frosty morning in Pusan last October. The full house testified to the power of a Kitano film which now commands a loyal following verging on the fanatical. In fact, his films attract far more viewers than the cu

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14

Toh, Hai Leong. "Hana-bi." Kinema: A Journal for Film and Audiovisual Media, November 20, 1998. http://dx.doi.org/10.15353/kinema.vi.872.

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HANA-BI (Fireworks, 1997). Japan. Dir: Takeshi Kitano. Cast: Takeshi Kitano, Kayoko Kishimoto, Ren Osugi, Susumu Terajima, Tetsu Watanabe, Hakuryu Minato-ku. After winning the Golden Lion at last year's Venice Film Festival, the elegiac and violent yakuza-cop film Hana-Bi (Fireworks) by Japanese director (Beat) Takeshi Kitano drew a full crowd at its preview at the Academy Theatre on a frosty morning in Pusan last October. The full house testified to the power of a Kitano film which now commands a loyal following verging on the fanatical. In fact, his films attract far more viewers than the cu

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15

"Cinema of Takeshi Kitano: Flowering blood." Choice Reviews Online 50, no. 12 (2013): 50–6664. http://dx.doi.org/10.5860/choice.50-6664.

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16

"Review: Kitano Takeshi. by Aaron Gerow." Film Quarterly 63, no. 2 (2009): 82–83. http://dx.doi.org/10.1525/fq.2009.63.2.82.

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17

Wee, Brandon. "Toronto 2008." Kinema: A Journal for Film and Audiovisual Media, November 20, 2008. http://dx.doi.org/10.15353/kinema.vi.1187.

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HIGHLIGHTS FROM THE TORONTO INTERNATIONAL FILM FESTIVAL 2008 Reflecting tough economic times, Toronto's 33rd annual edition presented a leaner program, substituting less films with multiple screenings as a trade off. Yet, this didn't deter criticism that the festival has gone to the dogs, with at least one local tabloid observer accusing it of elitism. Among this year's programme highlights: a stellar selection of Japanese titles represented across the festival's several sections, and a rare screening of a Lino Brocka film. Less compelling was the festival's inaugural commitment to the cinemas

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18

Ironside, Cameron. "Sean Redmond (2013) The Cinema of Takeshi Kitano: Flowering Blood." Film-Philosophy 19, no. 1 (2015). http://dx.doi.org/10.3366/film.2015.0044.

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19

"Force field of tetrafluoroborate anion for molecular dynamics simulation: a new approach." Kharkov University Bulletin Chemical Series, no. 33 (2019). http://dx.doi.org/10.26565/2220-637x-2019-33-03.

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González A., Goikolea E., Barrena J. A., Mysyk R. Review on supercapacitors: Technologies and materials. Renew. Sustain. Energy Rev. 2016, 58 1189-1206. Zhong C., Deng Y., Hu W., Qiao J., Zhang L., Zhang J. A review of electrolyte materials and compositions for electrochemical supercapacitors. Chem. Soc. Rev. 2015, 44 (21), 7484-7539. Dahl K., Sando G., Fox D., Sutto T., Owrutsky J. Vibrational spectroscopy and dynamics of small anions in ionic liquid solutions. J. Chem. Phys. 2005, 123 084504. Zhang B., Yuan Z., li X., Ren X., Nian H., Shen Y., Yun Q. Ion-molecule interaction in solutions of

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