#George Okamura

[mariocki]

The Crimson Kimono (1959)

"He didn't mean it that way!"

"You don't have to mean it or say it, it's there all the time."

"It's what you think is behind every word and every look."

"You've got to wear my shoes to know what I'm talking about."

"But I do know."

"How could you know? Honey, how could you? You can't feel for me unless you are me. Take a good look, Chris. Do I look different to you than I did yesterday?"

"Joe."

"Did my face change?"

"Don't say that."

"I've got to say it! I never felt this in the army, in the police. Maybe it's five thousand years of blood behind me, busting to the front. For the first time, I feel different. I taste it right through every bone inside me. For the first time, I catch myself trying to figure out who I am. I was born here. I'm American. I feel it and live it and love it, but down deep, what am I? Japanese-American? American-Japanese? Nisei? What label do I live under, Chris? You tell me."

#The Crimson Kimono #samuel fuller #1959 #american cinema #film noir #james shigeta #glenn corbett #victoria shaw #Anna Lee #Paul Dubov #Jaclynne Greene #Neyle Morrow #Gloria Pall #George Yoshinaga #Pat Silver #Kaye Elhardt #Aya Oyama #George Okamura #Ryosho S. Sogabe #Bob Okazaki #a.. complicated film. straight noir meets melodrama but dosed with social issue urgency and an indie sensibility; the noir plot is #fairly underwhelming‚ but the scenes which centre on Shigeta's experiences as an asian cop in a white america are pretty powerful #can't be overstated how revolutionary it was to cast an actor of Japanese descent to play a romantic lead opposite a white woman at this #point in time; hell‚ it's still noteworthy in 2022 (and isn't that a fucking disgrace). Fuller was always concerned with tackling bigotry #and hate with his art‚ and his heart is evidently in the right place here; but i can't deny that it's uncomfortable to find this film #suggesting that hey‚ perhaps a lot of the oppression and distrust Shigeta perceives is actually in his head‚ maybe his best white pal #actually is a good egg and he should cut him some slack. idk‚ it's undeniably a progressive film but in places it backtracks before making #the really big statements. perhaps a non white director or writer would have had input that might have helped iron out some of the clunkier #moments in the script. still this is a vital and energetic film‚ and Shigeta revelatory in a powerhouse performance #forgive the overlong quote but i didn't want to cut any of it; probably The Moment of the film and one of Fuller's best bits of writing

[ichigoaini]

George Michael-esque Yasuyuki Okamura @ his debut

He’s wearing blue eyeshadow ^_^ too cute

Source: https://x.com/ma1005/status/1709943978983047581?s=20

#岡村靖幸 #80s jpop #j pop

[nedsecondline]

Nisei Soldiers part 2 | Memorial Day 2023

306th HQ Intelligence Detachment, XXIV Corps, Leyte, Philippines, November 1, 1944. Front row, l to r: George Shimotori, Saburo Okamura, Thomas …Nisei Soldiers part 2 | Memorial Day 2023

View On WordPress

[abs0luteb4stard]

WATCHED

finally got the COLLECTOR'S EDITION.

It made my day. Probably my week.

I've wanted it for years. Finally just said "what the hell?" As Jack Burton always said.

Little known trivia. This movie has pretty much all the well known (or at least recognizable to the general movie goer) Asian American martial Arts Actors/Choreographers and stunt men.

Al Leong and Jeff Imada Known for their role in Double Dragon is Huey and Lewis. As well as playing henchmen on a ton of movies that they did stunt coordination on.

And there are other American Asian martial Artists and stunt choreographers like:

Gerald Okamura

James Lew

George Cheung

Those are just who I noticed off the top of my head. I'm sure there's at least a dozen. Not including the actors who played Thunder, Lightning and Rain (I don't know their names despite recognising them).

#John carpenter #BIG TROUBLE IN LITTLE CHINA #kurt russell #suzee pai #Dennis dun #kim cattrall #James Hong #Victor Wong #Kate Burton #Donald Li #Carter Wong #Peter Kwong #James Pax #Chao Li Chi #James Lew #Gerald Okamura #Al Leong #George Cheung #Jeff imada #fantasy #horror #comedy #supernatural #watching

[brandonshimoda]

The Hiroshima Library, an itinerant reading room/collection of books on atomic bombings of Hiroshima and Nagasaki, and their afterlives, is currently seeking donations of the following books (below), to add to its collection. The Hiroshima Library is reopening at Counterpath in Denver, Colorado, this October.

++++++++++++++++++++++++++++++++++++++++++++++++

Akiko Mikamo, 8:15: A True Story of Survival and Forgiveness from Hiroshima

Atsuhiro Ozaki, The Song of Hiroshima

Becky Alexis-Martin, Disarming Doomsday: The Human Impact of Nuclear Weapons since Hiroshima

Bombing Civilians: A Twentieth-Century History, edited by Yuki Tanaka and Marilyn B. Young

Chad R. Diehl, Resurrecting Nagasaki: Reconstruction and the Formation of Atomic Narratives

Dan Kurzman, Day of the Bomb: Countdown to Hiroshima

Eiichiro Ochiai, Hiroshima to Fukushima: Biohazards of Radiation

George Weller, First Into Nagasaki: The Censored Eyewitness Dispatches of Post-Atomic Japan and its Prisoners of War

Greg Mitchell, Atomic Cover-up: Two U.S. Soldiers, Hiroshima & Nagasaki, and The Greatest Movie Never Made

Harry J. Wray and Seishiro Sugihara, Bridging the Atomic Divide: Debating Japan-US Attitudes on Hiroshima and Nagasaki

Hiromi Tsuchida, Hiroshima Monument II

The Hiroshima Murals: The Art of Iri Maruki and Toshi Maruki, edited by John Dower and John Junkerman

Hiroyuki Agawa, Devil’s Heritage, translated by John Maki

John Auxier, Ichiban: Radiation Dosimetry for the Survivors of the Bombings of Hiroshima and Nagasaki

Jonathan Fetter-Vorm, Trinity: A Graphic History of the First Atomic Bomb

Kamila Shamsie, Burnt Shadows

Kunito Okamura, May the Seven Rivers of Hiroshima Reach the Galaxy

Mandy Conti & David Petersen, Survivors: The A-Bombed Trees of Hiroshima

Medical Effects of the Atomic Bomb in Japan, edited by Ashley Oughterson

Michael Light, 100 Suns

Michael Perlman, Hiroshima Forever: The Ecology of Mourning

Mick Broderick, Hibakusha Cinema: Hiroshima, Nagasaki and the Nuclear Image in Japanese Film

Mitsukuni Yoshida, Hiroshima and beyond: A heritage of technology

Monica Brau, The Atomic Bomb Suppressed: American Censorship in Occupied Japan

M. Susan Lindee, Suffering Made Real: American Science and the Survivors of Hiroshima

Nagasaki Speaks: A Record of the Atomic Bombing

Naomi Hirahara, Hiroshima Boy

Paul Ham, Hiroshima Nagasaki: The Real Story of the Atomic Bombings and Their Aftermath

Ran Zwigenberg, Hiroshima: The Origins of Global Memory Culture

Rinjiro Sodei, Were We The Enemy? American Survivors Of Hiroshima

Sadako Okuda, A Dimly Burning Wick: Memoir from the Ruins of Hiroshima

The Unfinished Atomic Bomb: Shadows and Reflections, edited by David Lowe, Cassandra Atherton, and Alyson Miller

Toshiharu and Rita Kano, Passport to Hiroshima: The Unthinkable, Inspiring Journey of a Japanese American Family

Virginia Moffa Khuri, Hiroshima: Remembering 1945 & 1958

Widows of Hiroshima: The Life Stories of Nineteen Peasant Wives, edited by Mikio Kanda, translated by Taeko Midorikawa

William J. Schull, Song Among the Ruins

++++++++++++++++++++++++++++++++++++++++++++++++

The Hiroshima Library is seeking copies of these books in any condition (from poor to new). If you are interested in donating one or more of these books, or a book that is not on this list, please contact Brandon Shimoda at [email protected].

Photo: The Hiroshima Library in the Hirasaki National Resource Center at the Japanese American National Museum, Los Angeles.

#hiroshima library #hiroshima #nagasaki #atomic bomb #library #books #donations

[yoshi-x2]

Eve - Bokura Mada Underground MV.

Planning & Produce: Genki Kawamura Director: Nobutaka Yoda (10GAUGE) Character Design: Naoyuki Asano Art Director: Yuji Kaneko Animation Production: WIT STUDIO Producer: Wakana Okamura, Maiko Okada Executive Produce: George Wada

#eve #wit studio #naoyuki asano #yuji kaneko #bokura mada underground #nobutaka yoda

[badgaymovies]

Today's review on MyOldAddiction.com, The Crimson Kimono by #SamuelFuller starring #JamesShigeta and #GlennCorbett, "exciting thriller shows Fuller scoring high on all points" SAMUEL FULLER Bil's rating (out of 5): BBBB. USA, 1959. Columbia Pictures, Globe Enterprises…

#Anna Lee #Aya Oyama #Bernice Pontrelli #Bob Okazaki #Columbia Pictures #Fuji #George Okamura #George Yoshinaga #Glenn Corbett #Globe Enterprises #Gloria Pall #Golden Globe 1959 #Harry Sukman #Jaclynne Greene #James Shigeta #Jerome Thoms #Kaye Elhardt #Neyle Morrow #Pat Silver #Paul Dubov #Robert F. Boyle #Ryosho S. Sogabe #Sam Leavitt #Samuel Fuller #Victoria Shaw #William Flannery

[maceikblog]

Co się dzisiaj działo? #63 4.3.2022

NHL: Lightning-Penguins 1:5

Turniej ITF w Nur-Sułtanie:

Michał Dembek/Szymon Kielan-białorusin/Vladyslav Manafov 4:6 3:6

Turniej ITF w Bendigo: Weronika Falkowska/Alexandra Bozovic-Chihiro Muramatsu/Kyoka Okamura 4:6 6:3 7-10

Magical Kenya Open, 2 runda: 27. Adrian Meronk

Turniej WTT Contender w Maskacie:

Jakub Dyjas/Cedric Nuytinck oddali mecz z Wang Wei Pengiem/Chih Yuan Chuangiem

Krykiet, mecze testowe, dzień 1

Indie(357/6, Rishabh Pant 96, )-Sri Lanka(,, Lasith Embuldeniya 2/107)

Pakistan(245/1, Imam Ul-Haq 132*, )- Australia(,,Nathan Lyon 1/31)

ICC Puchar Świata Kobiet

Indie Zachodnie (259/9, Hayley Matthews 119, Deandra Dottin 2/2) pokonały Nową Zelandię (256, Sophie Devine 108, Lea Tahuhu 3/57) 3 runami

Turniej ITF w Torello: Yann Wójcik-Noah Lopez 1:6 6:7(3)

Puchar Świata w skokach, konkurs mikstów w Lillehammer:

7. Polska (Nicole Konderla, Piotr Żyła, Kinga Rajda, Kamil Stoch)

Mistrzostwa Świata w hokeju, dywizja IV: Singapur-Iran 2:5

IIHF Puchar Kontynentalny, turniej finałowy: Cracovia-Sarjarka Karaganda 2:1

Puchar Świata w Biathlonie, sztafeta mężczyzn w Kontiolahti:

20. Polska (Jan Guńka, Przemysław Pancerz)

Davis Cup, kwalifikacje grupy światowej I:

Polska-Portugalia 0:2

Kacper Żuk-Joao Sousa 3:6 6:2 4:6

Kamil Majchrzak-Nuno Borges 6:3 3:6 3:6

Ekstraklasa:

Stal-Jagiellonia 1:1

Pogoń-Radomiak 4:0

PDC UK Open

1 runda

Bradley Brooks-Rowby John Rodriguez 1:6 Jelle Klaasen-Mark Rice 6:5

Kai Fan Leung-Fabian Schmutzler 5:6 Matt Campbell-Sebastian Bialecki 1:6 Mario Vandenbogaerde-Jules van Dongen 5:6 Danny Lauby-Niko Springer 6:5

Ted Evetts-Nick Fullwell 6:4 Ryan Harrington-Rusty Jake Rodriguez 6:2 Richie Burnett-Tony Martinez 6:3 Darren Webster-Jose Justicia 4:6 Martin Thomas-Kenny Neyens 4:6

George Killington-Reece Robinson 6:4 Dan Read-Diogo Portela 6:3 Josh Rock-Damian Mol 5:6 James Wilson-Shaun Wilkinson 6:4

Matt Good-Keelan Kay 5:6 Jim Williams-Ryan Murray 6:3 John O'Shea-Nathan Rafferty 6:0 Jurjen van der Velde-Mickey Mansell 6:4

Ricardo Pietreczko-Scott Taylor 6:2 Vladimir Andersen-Steve Clayson 2:6 Paul Hogan-Dom Taylor 6:4 Prakash Jiwa-Toni Alcinas 6:2

Darren Beveridge-Jimmy Hendriks 3:6 Wesley Plaisier-Radek Szaganski 5:6 Ross Montgomery-Reece Colley 6:3 Danny Jansen-Liam Meek 6:2

Adam Warner-Lukas Wenig 3:6 Shaun McDonald-Jamie Clark 0:6 Kevin Burness-Graham Hall 3:6 Luc Peters-Paul Marsh 6:0

2 runda

David Evans-Keane Barry 2:6 Lewy Williams-Martin Schindler 1:6 Connor Scutt-Jules Van Dongen 6:3 James Wilson-John Henderson 2:6

Jon Worsley-Niels Zonneveld 5:6 John Michael-Danny Baggish 5:6 Ted Evetts-Jack Main 6:3 Rowby John Rodriguez-Gordon Mathers 6:4

Berry van Peer-Kevin Doets 6:3 Graham Hall-Andrew Gilding 6:5 Peter Hudson-John O'Shea 3:6 Jim Williams-Jurjen Van der Velde 6:3

Keelan Kay-Lukas Wenig 1:6 Jelle Klaasen-Cameron Menzies 6:1 Richie Burnett-Ryan Harrington 3:6

Geert Nentjes-Jake Jones 6:3 Radek Szaganski-Scott Waites 4:6 Jose Justicia-Eddie Lovely 6:2 Paul Hogan-Danny Lauby 3:6

Krzysztof Kciuk-Brett Claydon 6:1 Jamie Clark-Martin Lukeman 3:6 Scott Mitchell-Danny Jansen 4:6 Luc Peters-Geert De Vos 6:2

Ricardo Pietreczko-Zoran Lerchbacher 2:6 Sebastian Bialecki-Joe Murnan 6:5 John Brown-Damian Mol 3:6 Steve Clayson-Fabian Schmutzler 2:6

Adam Gawlas-George Killington 6:3 Ross Montgomery-Dan Read 6:2 Prakash Jiwa-Jason Heaver 3:6 Kenny Neyens-Jimmy Hendriks 6:4

3 runda

Florian Hempel-Lukas Wenig 6:3 Raymond van Barneveld-William Borland 5:6 Adrian Lewis-Fabian Schmutzler 6:0

Madars Razma-Jamie Hughes 1:6 Krzysztof Kciuk-Ross Smith 6:4 Martin Schindler-Jeff Smith 6:2 Kim Huybrechts-Luc Peters 6:2

Max Hopp-Ritchie Edhouse 2:6 Martin Lukeman-Adam Hunt 6:3 Jason Lowe-Jelle Klaasen 4:6 Andy Boulton-Danny Lauby 6:5

Jeffrey de Zwaan-Keane Barry 2:6 Steve Beaton-Graham Hall 3:6 John O'Shea-Maik Kuivenhoven 1:6 Jose Justicia-Adam Gawlas 5:6 Jermaine Wattimena-Ross Montgomery 6:5

Keegan Brown-Sebastian Białecki 2:6 Steve West-Damian Mol 6:3 Steve Lennon-Ryan Harrington 6:5 Berry Van Peer-Niels Zonneveld 2:6

Ron Meulenkamp-Danny Baggish 6:2 Danny Jansen-Ricky Evans 6:2 Darius Labanauskas-John Henderson 6:4 Jim Williams-Alan Soutar 6:5

Ryan Joyce-Mike De Decker 6:0 Luke Woodhouse-Ted Evetts 6:2 Martijn Kleermaker-Jason Heaver 5:6 Geert Nentjes-Kenny Neyens 6:5

Boris Krcmar-Zoran Lerchbacher 6:2 Conor Scutt-William O'Connor 5:6 Rowby John Rodriguez-Ryan Meikle 0:6 Brian Raman-Scott Waites 2:6

4 runda

Chris Dobey-Michael Smith 7:10

Krzysztof Ratajski-Gerwyn Price 5:10

Michael van Gerwen-Gary Anderson 10:7

Joe Cullen-Peter Wright

Jermaine Wattimena-Vincent van der Voort 5:10

Daryl Gurney-Dimitri Van den Bergh 2:10

Steve Lennon-James Wade 6:10

Callan Rydz-Nathan Aspinall 10:9

Andy Boulton-Damon Heta 5:10

Maik Kuivenhoven-Simon Whitlock 9:10

Luke Woodhouse-Boris Krcmar 5:10

Ron Meulenkamp-Krzysztof Kciuk 10:9

Ritchie Edhouse-Sebastian Białecki 6:10

Jason Heaver-William O'Connor 7:10

Jelle Klaasen-Devon Petersen 6:10

Steve West-Jose de Sousa 7:10

Ryan Joyce-Martin Schindler 8:10

Glen Durrant-Scott Waites 5:10

Dave Chisnall-Brendan Dolan 10:3

Danny Noppert-Ryan Meikle 10:3

Mervyn King-Stephen Bunting 4:10

Geert Nentjes-Florian Hempel 10:5

Jamie Hughes-Adam Gawlas 10:5

Ian White-Luke Humphries 10:9

Ryan Searle-Adrian Lewis 10:7

Darius Labanauskas-Ricky Evans 9:10

Dirk van Duijvenbode-William Borland 10:6

Rob Cross-Gabriel Clemens 7:10

Jim Williams-Niels Zonneveld 5:10

Kim Huybrechts-Mensur Suljovic 9:10

Keane Barry-Graham Hall 10:7

Martin Lukeman-Jonny Clayton 9:10

Igrzyska Paraolimpijskie w Pekinie, dzień 0

CEREMONIA OTWARCIA

[pamonologues]

Today’s Inspiration: Tyrus Wong

These days I have been feeling lost on what I should be and what I should do. Notice the word “should”. “Should” means I think I know what I need to do, but in reality, it doesn’t align with my soul, heart and spirit. Pam, if I don’t feel aligned, use it as a message to move on and find something to build my momentum! 

Today, in my to-do list, the first thing I wrote was to observe Tyrus Wong’s illustrations. There are some wonderful posts of his work and his life I’ve reblogged and I will like to include more resources in this Tumblr world.

The Pastel Illustrations of Tyrus Wong That Would Inspire the Movie ‘Bambi’ Colossal Article 

Round the Clock: Chinese American Artists Working in Los Angeles Vince Price Art Museum Exhibition

Interview with the Curator Sonia Mok HuffPost Article mentions: 

the discrimination towards Chinese Americans and the struggles they faced 

the path each artist took to build their career 

the combination of their influences and how it inspired each artist differently

“What the show presents is more than just Chinese art or American art. The works offer insight into each artist’s multiple creative fluencies and cultural perspectives. Their career choices, their relationships throughout the art community, and their connectedness (or lack thereof) to the Chinese American community reveal a great deal about how these individual artists derived meaning from their work.”

List of Chinese American Artists (born between 1910-1920)

George Chann (his work later evolves into abstraction)

John Kwok (not much of his work is shown online)

Jake Lee (his work is detailed and realistic)

Milton Quon

2001 Group Show “Inspiring Lines: Chinese American Pioneers in the Commercial Arts”

2006 Solo Exhibition “Impressions: Milton Quon’s Los Angeles”

Watercolor Works 

Other Asian American Artists

Mike Quon (Milton Quon’s son”

Ruth Asawa

Bernice Bing

Wah Ming Chang

Benjamen Chinn

Taneyuki Dan Harada

Dale Joe

Diana Joe

Diana Kan

Dong Kingman

James Leong

James Yeh-jau Lau

George Miyasaki

Johsel Namkung

Arthur Okamura

Miné Okubo

Tadashi Sato

Kay Sekimachi

George Tsutakawa

Tseng Yuho

Carlos Villa

C.C. Wang

Anna Wu Weakland

Charles Wong

Jade Snow Wong

Nanying Stella Wong

Guide to the California Asian American Artists Biographical Survey Records

#tyruswong #tyrus wong #asianamerican #asian american artists #asianamericanartists #inspiration #artists on tumblr

[maxmaggr]

Το περιοδικό TIME επιλέγει τις 100 γυναίκες της χρονιάς

Illustration by Mark Summers for TIME; Fawcett Family/Anthony Crowley/Camera Press/Redux, 2014: Painting by Toyin Ojih Odutola for TIME, 1996: Painting by Shana Wilson for TIME, 1993: Portrait by Tim Okamura for TIME; Schiffer-Fuchs—Ullstein Bild/Getty, 1945: Illustration by Jennifer Dionisio for TIME; Bettmann/Getty, 1969: Art by Mickalene Thomas for TIME; Johnson: Arlene Gottfried—Daniel Cooney Fine Art; Sign: Diana Davies © NYPL/Art Resource, NY, 1959: Illustration by Marc Burckhardt for TIME; Alamy, 1962: Painting by Shana Wilson for TIME, 1977: Illustration by Jason Seiler for TIME; HolLynn D'Lil/Becoming Real in 24 Days, 1950: Illustration by Alan Dingman for TIME; Bettmann/Getty Το γνωστό περιοδικό ΤIME, με αφορμή τον Παγκόσμιο Μήνα Ιστορίας της Γυναίκας που γιορτάζεται όλον τον Μάρτιο, επιλέγει 100 «γυναίκες της χρονιάς» (σχεδιάζοντας 89 επιπρόσθετα εξώφυλλα στα ήδη υπάρχον 11), μία για κάθε χρόνο λειτουργίας του πρότζεκτ, από το 1920 έως το 2019. Αποδίδει έτσι φόρο τιμής στις -εδώ και πολλά χρόνια- συστηματικά επισκιασμένες συνεισφορές των γυναικών. Κάθε χρόνο το περιοδικό TIME, ξεκινώντας από το 1927, προσφέρει ένα πολυαναμενόμενο εξώφυλλο και αφιέρωμα στον «Άντρα της Xρονιάς», τιμώντας με αυτόν τον τρόπο όχι μόνο συγκεκριμένα άτομα (άντρες κατά κύριο λόγο) αλλά και ιδέες, ζευγάρια παντρεμένων ή πολιτικών αντιπάλων, ομάδες ανθρώπων καθώς, επίσης, και άψυχα αντικείμενα. Το 1999 το εν λόγω αφιέρωμα μετονομάστηκε σε «Πρόσωπο της Χρονιάς«», σε μια προσπάθεια να εκσυγχρονιστεί στο πνεύμα της εποχής της φυλετικής ισότητας και να σταματήσει να έχει έναν ανδροκεντρικό χαρακτήρα, καθώς ως και το 1999, μόλις τέσσερις γυναίκες τιμήθηκαν με ένα εξώφυλλο στο περιοδικό.  

Πηγή εικόνων: περιοδικό TIME- instagram.com   Οι γυναίκες ή τα προτζεκτ γυναικών που επιλέχθηκαν ως ορόσημα της κάθε χρονιάς είναι οι εξής:  

Πηγή εικόνας: Virginia Woolf / Illustration by Oliver Sin for TIME; George C. Beresford—Hulton Archive:Getty, TIME  

Δεκαετία 1920

The Suffragists (1920) Emmy Noether (1921) Xiang Jingyu (1922) Bessie Smith (1923) Coco Chanel (1924) Margaret Sanger (1925) Aimee Semple McPherson (1926) Queen Soraya Tarzi (1927) Anna May Wong (1928) Virginia Woolf (1929)

Πηγή εικόνας: Kahlo, Frida (1907-1954) Self-Portrait on the Bed or Me and My Doll, 1937: The Jacques and Natasha Gelman Collection of the 20th Century Mexican Art and The Vergel Foundation. Photo: Erich Lessing/Art resource, NY/ARS, NY. © 2020 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York, TIME

Δεκαετία 1930

Martha Graham (1930) Maria Montessori (1931) Babe Didrikson (1932) Frances Perkins (1933) Mary McLeod Bethune (1934) Amelia Earhart (1935) Wallis Simpson (1936) Soong Mei-Ling (1937) Frida Kahlo (1938) Billie Holiday (1939)

Πηγή εικόνας: Simone de Beauvoir / Albert Harlingue—Roger Viollet Collection/Getty, TIME  

Δεκαετία 1940

Dorothea Lange (1940) Jane Fawcett and the Codebreakers (1941) The Resisters (1942) Virginia Hall (1943) Recy Taylor (1944) Chien-Shiung Wu (1945) Eva Peron (1946) Amrit Kaur (1947) Eleanor Roosevelt (1948) Simone de Beauvoir (1949)

Πηγή εικόνας: Illustration by Marc Burckhardt for TIME; Alamy, TIME  

Δεκαετία 1950 

Margaret Chase Smith (1950) Lucille Ball (1951) Queen Elizabeth II (1952) Rosalind Franklin (1953) Marilyn Monroe (1954) Bus Riders (1955) Golda Meir (1956) Irna Phillips (1957) China Machado (1958) Grace Hopper (1959)

Art by Mickalene Thomas for TIME; Johnson: Arlene Gottfried—Daniel Cooney Fine Art; Sign: Diana Davies © NYPL/Art Resource, NY  

Δεκαετία 1960

The Mirabal Sisters (1960) Rita Moreno (1961) Jacqueline Kennedy (1962) Rachel Carson (1963) Barbara Gittings (1964) Dolores Huerta (1965) Stephanie Kwolek (1966) Zenzile Miriam Makeba (1967) Aretha Franklin (1968), Marsha P. Johnson (1969)

Illustration by Mercedes DeBellard for TIME; Gilbert UZAN—Gamma-Rapho:Getty  

Δεκαετία 1970 

Gloria Steinem @gloriasteinem (1970) Angela Davis (1971) Patsy Takemoto Mink (1972) Jane Roe (1973) Lindy Boggs (1974) American Woman (1975) Indira Gandhi (1976) Judith Heumann (@theheumannperspective) (1977) Lesley Brown (1978) Tu Youyou (1979)

Paper sculpture by Yulia Brodskaya for TIME  

Δεκαετία 1980 

Anna Walentynowicz (1980) Nawal El Saadawi (1981) Margaret Thatcher (1982) Françoise Barré-Sinoussi (1983) Bell Hooks (1984) Wilma Mankiller (1985) Corazon Aquino (1986) Diana Princess of Wales (1987) Florence Griffith Joyner (1988) Madonna (1989)  

Illustration by Manjit Thapp for TIME; Brecher-Schulz/Ullstein Bild via Getty  

Δεκαετία 1990 

Aung San Suu Kyi (1990) Anita Hill (1991) Sinead O'Connor (1992) Toni Morrison (1993) Joycelyn Elders (1994) Sadako Ogata (1995) Ruth Bader Ginsburg (1996) Ellen DeGeneres (1997) J.K. Rowling (1998) Madeleine Albright (1999)

Veronique de Viguerie—Getty

Δεκαετία 2000

Sandra Day O'Connor (2000) Wangari Maathai (2001) The Whistleblowers (2002) Serena Williams @serenawilliams (2003) @Oprah Winfrey (2004) Melinda Gates @melindafrenchgates (2005) Ellen Johnson Sirleaf (2006) Lilly Ledbetter (2007) Michelle Obama @michelleobama (2008)  @Malala Yousafzai (2009)

  Illustration by Neil Jamieson for TIME; Sergey Ponomarev—AP  

Δεκαετία 2010

Nancy Pelosi (2010) Tawakkol Karman (2011) Pussy Riot (2012) Black Lives Matter founders (2013) @Beyoncé Knowles Carter (2014) Angela Merkel (2015) Hillary Clinton @hillaryclinton (2016) Silence Breakers (2017) Maria Ressa @maria_ressa (2018) Greta Thunberg @gretathunberg (2019) Μπορείτε να δείτε όλες τις φωτογραφίες εξωφύλλων εδώ, καθώς επίσης και να διαβάσετε εκτενώς την ιστορία και τα κατορθώματα της κάθε γυναίκας που βρίσκεται στην λίστα. Read the full article

#TIME #γιορτήγυναίκας #Γυναίκεςπουάλλαξαντονκόσμο #μήναςιστορίαςγυναικών #πρόσωποτηςχρονιάς

[maxmaggreece]

Το περιοδικό TIME επιλέγει τις 100 γυναίκες της χρονιάς

Illustration by Mark Summers for TIME; Fawcett Family/Anthony Crowley/Camera Press/Redux, 2014: Painting by Toyin Ojih Odutola for TIME, 1996: Painting by Shana Wilson for TIME, 1993: Portrait by Tim Okamura for TIME; Schiffer-Fuchs—Ullstein Bild/Getty, 1945: Illustration by Jennifer Dionisio for TIME; Bettmann/Getty, 1969: Art by Mickalene Thomas for TIME; Johnson: Arlene Gottfried—Daniel Cooney Fine Art; Sign: Diana Davies © NYPL/Art Resource, NY, 1959: Illustration by Marc Burckhardt for TIME; Alamy, 1962: Painting by Shana Wilson for TIME, 1977: Illustration by Jason Seiler for TIME; HolLynn D'Lil/Becoming Real in 24 Days, 1950: Illustration by Alan Dingman for TIME; Bettmann/Getty Το γνωστό περιοδικό ΤIME, με αφορμή τον Παγκόσμιο Μήνα Ιστορίας της Γυναίκας που γιορτάζεται όλον τον Μάρτιο, επιλέγει 100 «γυναίκες της χρονιάς» (σχεδιάζοντας 89 επιπρόσθετα εξώφυλλα στα ήδη υπάρχον 11), μία για κάθε χρόνο λειτουργίας του πρότζεκτ, από το 1920 έως το 2019. Αποδίδει έτσι φόρο τιμής στις -εδώ και πολλά χρόνια- συστηματικά επισκιασμένες συνεισφορές των γυναικών. Κάθε χρόνο το περιοδικό TIME, ξεκινώντας από το 1927, προσφέρει ένα πολυαναμενόμενο εξώφυλλο και αφιέρωμα στον «Άντρα της Xρονιάς», τιμώντας με αυτόν τον τρόπο όχι μόνο συγκεκριμένα άτομα (άντρες κατά κύριο λόγο) αλλά και ιδέες, ζευγάρια παντρεμένων ή πολιτικών αντιπάλων, ομάδες ανθρώπων καθώς, επίσης, και άψυχα αντικείμενα. Το 1999 το εν λόγω αφιέρωμα μετονομάστηκε σε «Πρόσωπο της Χρονιάς«», σε μια προσπάθεια να εκσυγχρονιστεί στο πνεύμα της εποχής της φυλετικής ισότητας και να σταματήσει να έχει έναν ανδροκεντρικό χαρακτήρα, καθώς ως και το 1999, μόλις τέσσερις γυναίκες τιμήθηκαν με ένα εξώφυλλο στο περιοδικό.  

Πηγή εικόνων: περιοδικό TIME- instagram.com   Οι γυναίκες ή τα προτζεκτ γυναικών που επιλέχθηκαν ως ορόσημα της κάθε χρονιάς είναι οι εξής:  

Πηγή εικόνας: Virginia Woolf / Illustration by Oliver Sin for TIME; George C. Beresford—Hulton Archive:Getty, TIME  

Δεκαετία 1920

The Suffragists (1920) Emmy Noether (1921) Xiang Jingyu (1922) Bessie Smith (1923) Coco Chanel (1924) Margaret Sanger (1925) Aimee Semple McPherson (1926) Queen Soraya Tarzi (1927) Anna May Wong (1928) Virginia Woolf (1929)

Πηγή εικόνας: Kahlo, Frida (1907-1954) Self-Portrait on the Bed or Me and My Doll, 1937: The Jacques and Natasha Gelman Collection of the 20th Century Mexican Art and The Vergel Foundation. Photo: Erich Lessing/Art resource, NY/ARS, NY. © 2020 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York, TIME

Δεκαετία 1930

Martha Graham (1930) Maria Montessori (1931) Babe Didrikson (1932) Frances Perkins (1933) Mary McLeod Bethune (1934) Amelia Earhart (1935) Wallis Simpson (1936) Soong Mei-Ling (1937) Frida Kahlo (1938) Billie Holiday (1939)

Πηγή εικόνας: Simone de Beauvoir / Albert Harlingue—Roger Viollet Collection/Getty, TIME  

Δεκαετία 1940

Dorothea Lange (1940) Jane Fawcett and the Codebreakers (1941) The Resisters (1942) Virginia Hall (1943) Recy Taylor (1944) Chien-Shiung Wu (1945) Eva Peron (1946) Amrit Kaur (1947) Eleanor Roosevelt (1948) Simone de Beauvoir (1949)

Πηγή εικόνας: Illustration by Marc Burckhardt for TIME; Alamy, TIME  

Δεκαετία 1950 

Margaret Chase Smith (1950) Lucille Ball (1951) Queen Elizabeth II (1952) Rosalind Franklin (1953) Marilyn Monroe (1954) Bus Riders (1955) Golda Meir (1956) Irna Phillips (1957) China Machado (1958) Grace Hopper (1959)

Art by Mickalene Thomas for TIME; Johnson: Arlene Gottfried—Daniel Cooney Fine Art; Sign: Diana Davies © NYPL/Art Resource, NY  

Δεκαετία 1960

The Mirabal Sisters (1960) Rita Moreno (1961) Jacqueline Kennedy (1962) Rachel Carson (1963) Barbara Gittings (1964) Dolores Huerta (1965) Stephanie Kwolek (1966) Zenzile Miriam Makeba (1967) Aretha Franklin (1968), Marsha P. Johnson (1969)

Illustration by Mercedes DeBellard for TIME; Gilbert UZAN—Gamma-Rapho:Getty  

Δεκαετία 1970 

Gloria Steinem @gloriasteinem (1970) Angela Davis (1971) Patsy Takemoto Mink (1972) Jane Roe (1973) Lindy Boggs (1974) American Woman (1975) Indira Gandhi (1976) Judith Heumann (@theheumannperspective) (1977) Lesley Brown (1978) Tu Youyou (1979)

Paper sculpture by Yulia Brodskaya for TIME  

Δεκαετία 1980 

Anna Walentynowicz (1980) Nawal El Saadawi (1981) Margaret Thatcher (1982) Françoise Barré-Sinoussi (1983) Bell Hooks (1984) Wilma Mankiller (1985) Corazon Aquino (1986) Diana Princess of Wales (1987) Florence Griffith Joyner (1988) Madonna (1989)  

Illustration by Manjit Thapp for TIME; Brecher-Schulz/Ullstein Bild via Getty  

Δεκαετία 1990 

Aung San Suu Kyi (1990) Anita Hill (1991) Sinead O'Connor (1992) Toni Morrison (1993) Joycelyn Elders (1994) Sadako Ogata (1995) Ruth Bader Ginsburg (1996) Ellen DeGeneres (1997) J.K. Rowling (1998) Madeleine Albright (1999)

Veronique de Viguerie—Getty

Δεκαετία 2000

Sandra Day O'Connor (2000) Wangari Maathai (2001) The Whistleblowers (2002) Serena Williams @serenawilliams (2003) @Oprah Winfrey (2004) Melinda Gates @melindafrenchgates (2005) Ellen Johnson Sirleaf (2006) Lilly Ledbetter (2007) Michelle Obama @michelleobama (2008)  @Malala Yousafzai (2009)

  Illustration by Neil Jamieson for TIME; Sergey Ponomarev—AP  

Δεκαετία 2010

Nancy Pelosi (2010) Tawakkol Karman (2011) Pussy Riot (2012) Black Lives Matter founders (2013) @Beyoncé Knowles Carter (2014) Angela Merkel (2015) Hillary Clinton @hillaryclinton (2016) Silence Breakers (2017) Maria Ressa @maria_ressa (2018) Greta Thunberg @gretathunberg (2019) Μπορείτε να δείτε όλες τις φωτογραφίες εξωφύλλων εδώ, καθώς επίσης και να διαβάσετε εκτενώς την ιστορία και τα κατορθώματα της κάθε γυναίκας που βρίσκεται στην λίστα. Read the full article

#TIME #γιορτήγυναίκας #Γυναίκεςπουάλλαξαντονκόσμο #μήναςιστορίαςγυναικών #πρόσωποτηςχρονιάς

[toraonice]

Yuri on Ice interview translation - Febri 2017/03 (p29-33)

Finally the interview from Febri is finished! I like Kubo’s interviews but I swear I don’t want to see any more for some time... This one is also mentioning a lot of stuff that I haven’t read in other interviews so far. It’s a bit long but definitely worth reading!

Translation is under the cut. I might fix the format a little later on to make it visually better, now I have to leave to go to Wonder Festival... (who needs sleep?). If you have any questions about the interview feel free to message me.

***If you wish to share this translation please do it by reblogging or posting a link to it*** 
***Re-translating into other languages is ok but please mention that this post is the source***

Staff interview Original plan / manga storyboard / character plan Mitsurou Kubo Mangaka Mitsurou Kubo is the one who, together with director Sayo Yamamoto, created the basis of the series. It was the first time that she worked on a story about sports and that she was involved with the production of an anime. We have asked her her feelings about this series.

—We know that this project started when you were invited by director (Sayo) Yamamoto. Yes. Originally I only watched figure skating on TV whenever I felt like it, but when I talked about that on the radio director Yamamoto listened to it and contacted me to ask me “would you be willing to create an anime about figure skating with me?”.

—That was the first time you met director Yamamoto, and you didn’t know each other before then, is that correct? Yes. However, and this is something that I was told later on, previously (Yasuyuki) Okamura-chan, when he was drinking with some members of the staff of the anime “Space Dandy” (broadcasted in 2014), messaged me on LINE to tell me that among them there was a person that was my fan. At a later time I found out that this person was director Yamamoto. I was surprised because I never even thought I had fans in the anime industry, and I would have never expected that one day we would end up working together like this.

—That is indeed a curious coincidence. When did you first become interested in figure skating? I used to watch it on TV every once in a while since when I was a kid. But I didn’t really know the rules and the athletes, my impressions were really just like “this skater is so cool!” or “this performance is so moving!”. I enjoyed reading what one of my friends who loves figure skating wrote online. The reason I was talking about figure skating on the radio and on TV is that it was during the Sochi Olympics, and I was saying things like “Mao-chan (Asada) is so tough” or “what (Tatsuki) Machida-kun said impressed me”, in other words the typical level of a person who watches it on TV. I only started to look up the rules and technical elements when I began working on “Yuri on Ice”.

—Basically, you were not just interested in male figure skating, but in figure skating as a sport in general. Yes. If Mao-chan was skating on TV I would watch her, and if (Yuzuru) Hanyuu-san was performing I would cheer on him. It’s a sport where Japanese athletes are doing great in international tournaments as well, so I really felt like cheering on them regardless of the gender.

—What do you find fascinating about figure skating? Of course I also find it amazing that they’re challenging the limits of the human body, but what most attracted me is that, while being a sport, they dance to the music. On the ice you are also required to be a performer that expresses something. Bound by surprisingly strict rules, you compete to get the best score. I think that the unchanging charm of figure skating lies in how athletes are able to always surprise and give new emotions to the ones who watch them, no matter whether they’re people who don’t have much knowledge about the sport or people who always support it.

—When director Yamamoto talked to you about “Yuri on Ice” did you decide to accept right away? Ever since the first time I met director Yamamoto I felt that it would be fun working with her, and that impression hasn’t changed. However, my knowledge of the sport was really basic, and since it’s a major sport with so many fans, at the beginning I wasn’t confident that I would be able to create something convincing that anyone would appreciate. I still decided to accept nevertheless mostly thanks to director Yamamoto’s enthusiasm. She knows so much about figure skating and loves it so much more than me, that I felt that with her I was willing to and would be able to create something. I too wanted to be influenced by her.

—This is the first time that you write a serious story about sports, is it right? Until then, even though I was interested in drawing manga about sports, I couldn’t find the courage to try. First of all you need technical knowledge of the sport, and most importantly I had no experience in playing anything myself. Of course there are mangaka who draw manga about baseball even though they have never played baseball, but I’m too scared and would never be able to do it. However, one time when I consulted George Morikawa, author of “Hajime no Ippo”, about this, he told me “I’ve never been a champion, but I’m drawing a manga about a champion”. He made me remember that indeed, writing about someone that you would never be able to become is one of the basics of fiction, and the real thrill of manga is that it allows you to do something like that. I did have this strong feeling that I wanted to show people how interesting figure skating is, and since there are so many fascinating athletes even in real life I thought that if I was going to create something I would have liked to come up with anime characters that would also feel fascinating. I came to the conclusion that “I would never be able to do that alone, but maybe together with director Yamamoto it will be possible to work it out”. Therefore I accepted her offer.

—Would you have avoided this theme if it were a manga serialization that you had to draw alone? No matter how much I love figure skating, I don’t think I would have done it alone. There’s an implicit rule in manga serializations, if they are popular they will go on forever, if they’re not popular they will be cut short, so I definitely wouldn’t be able to do it. You have to develop the story so that it’s always interesting while you have no idea whenever it will end, and at the same time you have to finish it neatly right away if they tell you to end it. It’s quite a feat if you think about it (LOL). Of course there are many mangaka that can do it just fine, so if you tell me “that’s because you’re not good enough” I won’t deny it (LOL).

—This time the story wasn’t made into a manga but into a 12 episodes long anime. Did it feel different? It almost never happened to me to create a story whose length was already decided from the start, so it felt new. Also, if you are doing a manga serialization you can still adjust the course of the story based on the response from the readers or reflect other people’s opinions in it even after you have started it, but in this case when episode 1 aired my job was basically over already, so I couldn’t receive any feedback from the audience while I was creating the story and I felt a kind of pressure I had never experienced before. However, the method of deciding the ending first and then directing the story so that it would get more and more exciting until the final climax is something that I think was worth trying at least once as a mangaka, so I enjoyed that aspect.

—How did you create the plot and the characters, which are the core of the story? The foundation of the plot is something that director Yamamoto already had in her mind when I first met her. The basic concept of a Japanese athlete as the protagonist, a foreign top skater that becomes his coach and the two participating in the Grand Prix Final hasn’t changed from the start. From that concept we decided the events and matches to show in every episode, and the conclusion where Yuuri ultimately cannot get the gold medal. These are all things that were fixed at an early stage. Regarding the detailed course of events in every episode, it wasn’t always the same. Sometimes we would discuss it together, and sometimes one of us would come up with a draft proposal and we would adjust it. There are editors who have a talent for creating stories, and it felt to me like I was working with that kind of person. Anyway, the scenario, including all the dialogues, was created by me and director Yamamoto.

—Didn’t you feel anxious that it was only the two of you creating the story? We dissipated any concerns by assuring each other that it was interesting (LOL). Also, when I think that something is interesting, usually I’m right. I don’t mean to say that I have a special talent, on the contrary it’s because I’m an ordinary person with ordinary sensibility that many people sympathize with me. I know this from experience, therefore I wasn’t really worried.

—I heard that your storyboard for all 12 episodes was about 900 pages long. Yes, it was more or less that. It took me a little more than a year, so considering the working pace I think I was actually pretty slow.

—Is there something you had a hard time with when you created the storyboard? In every episode, especially in the early part, I had trouble fitting the characters into the story. I drew about 10 pages but it felt really incoherent, so I had to draw it again from the start. That happened over and over. The story was already decided, therefore I couldn’t change it a lot. I mostly changed the situation or dialogues, and tried again until it felt right.

—It felt innovative that the story becomes completely focused on the tournaments as it progresses, and at the same time it was also very fascinating. Director Yamamoto really wanted to show until the Grand Prix Final, so the structure of the episodes naturally became like that. Also, I didn’t want to portray the other athletes like side characters that are obviously going to lose, therefore I tried to create a story where all characters would get their highlights. On top of that, the director was towing the series with overwhelming power, surprising everyone by saying things like “all songs must be newly-written” and “let’s use an orchestra to create the music”. Looking at her I thought I had to do my best too and so I tenaciously strived to incorporate all elements into my storyboard without making compromises.

—How did it feel to see your storyboard become an anime and not a manga? It’s not like I don’t think I’m one of the creators, but it felt more like I was simply “one member of the anime staff”, so in a way I was more worried that my storyboard would get in their way. I put my heart and soul into that storyboard, but I didn’t necessarily want them to do everything exactly like it, I was happier knowing that it could become a nice base on which to build the anime. It’s also the first time that I had someone else work on my drawings, but actually my drawing style has lots of lines, so it’s not really suitable for an anime. The most important thing was that the viewers would think the anime pictures were the best, so I was focused on watching the new fascinating style used in the anime and didn’t really care whether my art style would be maintained or not. Starting from the chief animation director (Tadashi) Hiramatsu-san, I completely trust the anime staff, so I told them to change anything they needed to make the art easier to animate. As a result, in some cases the characters’ expressions changed from the storyboard, and in other cases they were just the same translated into animation, but as a whole the pictures were improved compared to the storyboard and I’m really satisfied with the result.

—You also went location hunting to write the storyboard, right? Yes. We went to China, Russia and Barcelona in Spain to watch actual figure skating tournaments.

—Did physically going to arenas and getting a deeper knowledge of figure skating influence the storyboard? We couldn’t directly speak to the athletes in tournaments, therefore to recreate their feelings and thoughts in fiction we had to put together the pieces from the outside. We were planning to create a story centered around the bond of an athlete and their coach, in other words Yuuri and Victor, but before going location hunting we didn’t really have a clear image of that in our minds. If you put too much focus on expressing the bond people will say “it’s just a fantasy created by the mind of a woman, isn’t it?”. In fact, when I wrote “Moteki”, there were people saying “this manga doesn’t understand a man’s heart at all”, and at the same time I also received many comments like “how is it possible that a female writer understands the feelings of a virgin guy?”, but in the end there are no limitations as to how a person can interpret a work, therefore the only correct thing a creator can do is release their work into the world with a strong resolve. Either way, I thought that if I didn’t draw “Yuri on Ice” with very strong feelings I would lose my way, but I had a hard time deciding what would be the core of these strong feelings.

—I see. At that time, a certain athlete said “I can skate for love”. In their case, “love” was probably referring to their lover, and they meant to say that even if they are apart they can do their best thinking about that person and this also helps them achieve good results, but when we heard this director Yamamoto and I felt shocked like we had been struck by lightning. We realized that indeed, in real figure skating many athletes express an overwhelming love and sensuality on the ice. I myself had never drawn a story about someone doing their best for love in such a straightforward way, but I thought that if I had to try my hand at it this series was the perfect chance. It’s a theme that can be dealt with in the sport of figure skating, and also it’s pretty classic to connect sport and love in fiction. Yuuri Katsuki doesn’t skate for his own love, but to prove all kinds of love, including Victor, and when as a result his strong desire for a gold medal was added to it, I had the feeling that this series had finally found its powerful core. I believed that any kind of love representation, if crafted with the utmost care, would feel interesting to the viewers. What was important to me and director Yamamoto was not “who to deliver this work to”, but to create a solid work that would “be able to reach as far as possible”, and one of the elements that contributed to make it strong was the representation of the bond called “love”.

—That is also something that is reflected in the characters’ personalities and dialogues. I wanted to depict the athletes’ nature, their passion and dedication, with care. That’s why I decided to use lots of strong dialogues that are like a punch in the face, and surprise the viewers with their facial expressions and the situations. I did my best to pour my personal style into these parts, while of course being careful not to spoil the main story line.

—At the same time, the skating scenes are really realistic and contain almost no fictional elements. I left the skating scenes to the animators who are in charge of them, trusting that they would be able to make them convincing. I was really pleased to see the final result, because they were able to create amazing scenes with the characteristic taste of an anime, so even if the story is fiction they took a very serious approach to it.

—I see. Who was the hardest character to write? I had a hard time drawing the relationship between Yuuri and Yurio. Especially Yurio, I think he’s easy to grasp as a character and I was sure he would become popular, but for the same reason it was difficult to make him unpredictable. I wanted to depict him and Yuuri as rivals, however figure skating is mostly a battle against yourself, a sport where you fight to pursue your personal best, and after their direct confrontation in episode 3 they also become physically separated, so I was careful about the balance when making them think of each other.

—Yuuri and Yurio had a kind of relationship that made it difficult to tell exactly whether they were getting along or not. We had already decided from the start that Yurio would hinder Yuuri’s victory in the Grand Prix Final, therefore I had to think about how to develop their relationship in a convincing way, so that the viewers would also feel a catharsis in that moment. When portraying rivals it’s important not to fall into stereotypes, that’s why I created the stir over Victor, Otabek and Yurio becoming friends in episode 10, and so on. It was for the purpose of reinforcing the fated connection between Yuuri and Yurio, and to consequently cause the viewers to want to cheer on Yuuri in the Grand Prix Final. However, at the same time the bond between Yuuri and Victor became deeper and deeper, and as I couldn’t really find enough place to put the spotlight on the rivarly with Yurio eventually Yurio stopped moving inside my storyboard, to my surprise. In that sense, I had to struggle to depict Yuuri and Yurio’s relationship until the end.

—Still, Yurio’s lines were all powerful, and I think he really stood out as a character. How did you create those memorable lines such as “I’ll make you into a borscht in Moscow” and “there are no gold medals for pigs!!”? Just naturally (LOL). Sometimes lines are born because the story requires them, and some other times a line a character would totally say eventually connects to the story, so it doesn’t really feel like I came up with all the lines myself. Ideally I was aiming to create lines that people will want to say right away the day after the episode is broadcasted, that they will want to say out loud. It’s not just about Yurio of course, but since voice actors were going to read the lines out loud it was a good occasion to throw in lots of strong dialogues (LOL).

—The bond between Yuuri and Victor became more and more extreme by the end of the series. Yuuri is just calling it “love” because of what he wants to express, without being afraid of the values arbitrarily decided by others, but I decided to go ahead and use any kind of representation if it was required by the story, without reserve. I believed that the buildup of such a relationship would lead to a special ending, I actually hadn’t envisioned their relationship from the start. In the end the bond between them became extremely deep, and I myself was surprised.

—The scene of the rings in episode 10 was the most outstanding example, it was quite shocking. Considering what you just said, was that also the course of events? It wasn’t the course of events, it was necessary! At least, when I was writing the storyboard that’s what I thought, and I wrote it seriously. I had really been wanting to draw the scene of Yuuri and Victor’s reunion at Fukuoka airport, and at that time neither me nor director Yamamoto actually had in mind to drop any bombshells in episode 10 or 11. However, episode 10 was the last “break” before the Grand Prix Final, and as we were thinking about what to put in it to make it an absolutely enjoyable episode, we also wondered whether it was possible to further deepen their bond too. Since we had already done hugs and scenes like in dramatic TV serials* we thought we couldn’t go it any farther, but then I suddently thought that they might want an item for support when facing the Grand Prix Final. When I tried browsing the websites of ring brands I found out that engagement rings aren’t necessarily something for people who get married, but that they can be given as presents to soulmates too. And I thought, “this is it!”. Besides, looking through the material we gathered during location hunting in Barcelona I found pictures of a church with a choir, so I was like “this is the place!”. [*translator’s note: In Japanese she says “scenes like in a getsuku drama”. “Getsuku” (月9) are serial TV dramas broadcasted on Fuji TV on Monday at 9 pm, hence “getsuku” which means “Monday 9”. Especially until a few years ago they used to be very popular, you might have heard the titles of some of the most known ones like “HERO” and “Long Vacation”, both starring Takuya Kimura. They mostly center around or include love stories, but not necessarily, and they tend to have lots of dramatic twists, so sometimes people will refer to dramatic or tense scenes in other works as “getsuku” because they remind of the typical developments of these dramas. In YOI I would say she is referring to either the scene in the parking in ep.7 or the one at Fukuoka airport in ep.9.]

—It’s like everything connected naturally, as if it was meant to happen. It was a period where I was at my wits’ end, but I drew this part all in one go. It was before the anime started, so I didn’t know what kind of response the anime would get and how this would be interpreted. Even if someone said “this makes no sense!” I wouldn’t have cared (LOL).

—As a result, the viewers were ecstatic. If it were a manga I think that scene would have actually looked much lighter and less important, but I was positively impressed to see how much impact it could have when in an anime.

—Still, the response from the public got more and more terrific with each episode. What surprised me the most after the end of the series is that my father was actually watching it. He has never read any of my manga except for the 4-koma ones, yet he was watching “Yuri on Ice”. He said “at the beginning I felt a little sick*, but I watched it until the end. Will you make a sequel?” (LOL). I was moved thinking that my father, a 70 years old Kyushu man, managed to overcome nausea and was able to enjoy the anime. Anyway, this series received response from such a wide range of people, something that could not possibly happen in my life as a mangaka. I feel a lot of fervor coming from both the positive and the negative opinions. [*translator’s note: It’s a bit vague, but based on how it’s worded I think they are referring to motion sickness probably caused by the skating scenes.]

—When did you start realizing that you were receiving a huge response? I’d say from around episode 5, when the real tournaments started. I was a bit tense because in manga it happens often that people will say the everyday life parts are more interesting than the competition scenes, but I was very happy to see that in fact we were getting more response after the tournament started. Also, after episode 7 I realized it so clearly that I even began to think “this is reaching too many people”. On Twitter I saw lots of comments like “I cried so much I feel sick” and I thought “people’s autonomic nerves are going crazy” (LOL).

—Now that the series is over and you are probably less burdened by work, how do you feel looking back on “Yuri on Ice”? More than the sense of fulfillment for being able to express what I wanted to draw, I feel so undescribably happy that I could help director Yamamoto build the world she wanted to create. I was contacted about this series right after I finished my serialization of “Again!!”, and it was a time when I was thinking about what kind of manga to draw next and my mind was completely blank. Like Victor in episode 1, I couldn’t feel any motivation to start my next work and I wasn’t able to come up with any idea. Just at that time I met director Yamamoto and I was able to deal with things I had been avoiding, like the theme of “doing something for love” and “a series about a sport I had no experience in”, and I was able to reach a level that I could never have reached alone. However, due to my nature, I absolutely don’t think that “now that I gained this experience, I will use it as a weapon to draw lots of interesting manga!” (LOL). I can see myself worrying about lots of things again the next time I sit at a desk, but still, I believe that I earned something thanks to this series. I feel that even if you leave your area of expertise, if you have the sensitivity to find something interesting and enough luck, you can create something that other people will sympathize with, and I also think that getting away from my usual work of manga serializations helped me notice many new things.

—So, did it help you gain more confidence? It’s not that simple (LOL). If you become too sensible you will lose your ego as a mangaka and the works you create might actually become boring. Sometimes I think that to write manga you need to become like a rabid dog. There are surely many things I earned working in the production of an anime, but whether I can put them to good use in my manga is another story, and at this moment I still can’t tell.

—I see. Lastly, many people are hoping for a sequel to “Yuri on Ice”. Could you tell us your current plans and whether you have a desire to continue? Even between me and director Yamamoto, we still haven’t discussed about it concretely. Besides, we cannot create an anime alone, and we do not know whether the important anime staff will have their schedules free. But we cannot move forward until we create something that will allow us to say “we have come up with this sequel, please follow us”, therefore, as one of the main creators, the first thing I want to do is conceive an interesting sequel. Actually, I’ll be going on a trip abroad with director Yamamoto soon. It has nothing to do with location hunting for a sequel, but like when we first discussed about “Yuri on Ice”, I hope that we can start to gather the external pieces while talking about figure skating every day. I think that the characters are out there somewhere, waiting for a chance to move again, and we are going on a trip to look for them. I hope we can find them.

#YOI #Yuri on ice #interview #translation #kubo mitsurou #febri

[bellus-spiritus]

#InternationalMuseumDay @mocada_museum TODAY is the last Sunday to view the 58 works of art by 48 different international artists Before they get sold! Full catalogue link in bio paddle8.com/mocada The "My Collection" auction exhibition is an extraordinary collection of prints, drawings, paintings, sculptures, and other mixed media works- a generously donated by artists from all over the globe. Highlighting both emerging and established artists of the African Diaspora, artists dealing with subjects relevant to African diasporan communities, many of whom have previously exhibited at and supported MoCADA. In a time were funding for the arts is very much in question in the USA, this exhibition will also serve as an opportunity for patrons to support MoCADA's mission of using art to build community by purchasing a piece of artwork. Any acquisition is tax deductible for US taxpayers as it is as a donation to a non-profit. Curated by Joakim von Ditmar, in collaboration with Richard Beavers Gallery, and The Projects Gallery, the funds raised through the auction will directly support MoCADA's free programming, and its growth into the new building at Lafayette and Flatbush avenues, slated to open in Fall 2018. The move will catapult MoCADA into being one of the top 20 institutions in the world focusing on the arts & culture of the African diaspora. MoCADA thrives because its artistic community continues to create and address the issues that are prevalent within the global African diaspora, and because of the support of its community. #art #contemporary #contemporaryart #African #AfricanAmerican #diaspora #AfricanArt #BlackArt #photography #contemporaryphotography #painting drawing sculpture etc works by: #DerrickAdams Victor Ehikhamenor Dagmar van Weeghel Faith Ringgold George Osodi Tim Okamura Arno Elias David Salle Dawn Okoro Abiy Solomon Marc Baptiste LeRone Wilson Sven Ballenthin William Coupon Dave McClinton Nelson Makamo Romare Bearden Tahir Carl Karmali Osborne Macharia Jonathan Mannion Maïmouna Guerresi Guy Stanley Piloche Kristofer Dan-Bergman Ken Browar & Deborah Ory / NYC Dance Project And Many More! LINK IN BIO #joakimvonditmar #art4art (at MoCADA Museum)

#blackart #africanamerican #africanart #art #african #contemporary #contemporaryart #derrickadams #photography #diaspora #art4art #painting #joakimvonditmar #internationalmuseumday #contemporaryphotography

[markzware]

Which would you choose? IDMarkz for InDesign files, QXPMarkz for QuarkXPress users or our PDF2DTP product for converting multi-page PDFs into InDesign… Hi everybody and today we are going to choose our lucky winners of the Markzware CreativePro Week 2020 give-away! The three lucky winners can each choose one Markzware product. And other Indesigners or graphic designers can still save 20%! (See below) 0:00 - Intro to video from Mary Gay Marchese, PR at Markzware 0:30 - David Dilling reviews CreativePro Week 2020 with Mary Gay 1:09 - InDesign to Affinity Publisher as shown at the event 1:53 - How Markzware is choosing the winners of the software 2:12 - first winner is… Lindsay Candler 3:00 - 2nd Markzware winner is… Kazuya Okamura 3:36 - The 3rd lucky winner of a Markzware product is… George Reddick! 4:06 - DTP products they can choose from… 4:40 - Mary Gay extended the 20% Discount code, CP2020 5:00 - signing off, for now! Congratulations InDesign and QuarkXPress winners! The new IDMarkz for InDesign to Affinity Publisher is very popular. As is the ever newer, released at the trade show, online, Markzware’s QXPMarkz for Quark to InDesign and QuarkXPress to Affinity Publisher as well! You can SAVE too! Markzware is extending the special of 20% off till the end of June 2020. Use the coupon code CP2020 on checkout to get this great deal on any of out Markzware products. https://ift.tt/2hpdlTo #CreativePro #Markzware #InDesign Congratulations to the winners of the Markzware give-away. Thank you you to the CreativePro Week 2020 team and till the next time, stay healthy! by Markzware

#markzware #graphic design #print media #indesign #plugins #software

[picuscapital]

Tomio Okamura otvorene o Zuzane Čaputovej Čaputová naplňuje agendu George Sorose na podporu ...

Tomio Okamura otvorene o Zuzane Čaputovej Čaputová naplňuje agendu George Sorose na podporu …

Tomio Okamura otvorene o Zuzane Čaputovej! Čaputová naplňuje agendu George Sorose na podporu …

Už aj v Českej republike sa nad politikou Slovenskej prezidentky pozastavujú niektorí lídri. Konktretne ide o Tomia Okamuru predsedu SPRD, ktorý v pondelok na sociálnej sieti Facebook pozastavil nad rozhovorom Slovenskej prezidentky, ktorý venovala pre Le Monde. Podľa Okamuru sa Slovenska prezidentka…

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[emelystead950-blog]

Cracking The Coconut Oil Fad.

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