#Haruko Kato

[shihlun]

Akio Jissoji

- Nami no bon AKA Lanterns on Blue Waters

1983

#akio jissoji #lanterns on blue waters #波の盆 #実相寺昭雄 #nami no bon #笠智衆 #chishu ryu #japanese film #加藤治子 #haruko kato #tv drama #1983 #akio jissôji

[fuckyeahmeikokaji]

The cast of Kantaro Terauchi Family (寺内貫太郎一家), 1974. From L to R:

Chiho Yuki (悠木千帆) Hideki Saijo (西城秀樹) Miyoko Asada (浅田美代子) Asei Kobayashi (小林亜星) Haruko Kato (加藤治子) Meiko Kaji (梶芽衣子)

#Meiko Kaji #梶芽衣子 #Kantaro Terauchi Family #Asei Kobayashi #Chiho Yuki #Hideki Saijo #Miyoko Asada #Haruko Kato #寺内貫太郎一家 #悠木千帆 #西城秀樹 #浅田美代子 #小林亜星 #加藤治子 #press photo #kantaro family

[camyfilms]

ハウルの動く城 2004

There you are, sweetheart, sorry I'm late. I was looking everywhere for you.

#howls moving castle #2004 #favoured #emily mortimer #jean simmons #christian bale #chieko baisho #takuya kimura #lauren bacall #akihiro miwa #billy crystal #tatsuya gashuin #josh hutcherson #ryunosuke kamiki #blythe danner #haruko kato #jena malone #yayoi kazuki

[byneddiedingo]

Chishu Ryu in An Autumn Afternoon (Yasujiro Ozu, 1963) Cast: Chishu Ryu, Shima Iwashita, Keiji Sada, Mariko Okada, Teruo Yushida, Noriko Maki, Shin'ichiro Mikami, Nobuo Nakamura, Kuniko Miyake, Eijiro Tono, Haruko Sugimura, Kyoko Kishida, Daisuke Kato. Screenplay: Kogo Noda, Yasujiro Ozu. Cinematography: Yuharu Atsuta. Production design: Minoru Kanekatsu If a foolish consistency is the hobgoblin of little minds, then what is a wise consistency? Because Yasujiro Ozu was nothing if not consistent, especially in the films of his greatest period: From Late Spring (1949) through An Autumn Afternoon, his final film, we get the same milieu -- middle class Japanese family life -- with the same problems -- aging parents, marriageable daughters, unruly children -- and the same style -- low-angle shots, stationary camera, boxlike interiors, exterior shots of buildings and landscape used to punctuate the narrative. Ozu's style would be called "mannered" except that the word suggests an obtrusive inflection of style for style's sake, whereas Ozu's style is unobtrusive, dedicated to the service of storytelling. There are, I suppose, some who are turned off by such consistency, who don't "get" Ozu. All I can say is that it's their loss, because it's a wise consistency, dedicated to trying to understand the way people work, why, for example, they conceal and obfuscate and manipulate to get what they really want. And why, sometimes, they don't even know what they really want. An Autumn Afternoon could almost be mistaken for a remake of Late Spring because of its central problem: a young woman at risk of sacrificing herself for an aging, widowed father. It stars the same actor, Chishu Ryu, as the father, Shuhei, and it ends in a strikingly similar way: The daughter, Michiko (Shima Iwashita), gets married, but we never see the bridegroom, just as we never see the man Noriko marries in Late Spring. But where Late Spring centered itself on a kind of moral dilemma, the white lie the father tells to resolve the problem, An Autumn Afternoon illuminates the relationship of father and daughter through the experiences of secondary characters. If Michiko marries, will her marriage be like that of her brother and sister-in-law, strained by constant arguments about money? If Shuhei doesn't encourage her to marry, will she end up like the daughter of his old teacher, embittered because she gave up the prospect of marriage to serve him? There's yet another possibility for Shuhei: His close friend, a widower, remarried, but now his much younger wife has him on a tight leash, putting limits on him that Shuhei doesn't have, such as the ability to stop off in bars and to drink with his old war buddies. (Even Michiko tries to rein in her father where this is concerned, pointedly commenting when Shuhei comes home a little late and tipsy.) The screenplay by Ozu and his usual collaborator, Kogo Noda, deftly integrates all of these stories and more, but the shining center of the film is the performance of Ryu, constantly letting us see the conflict that is churning beneath Shuhei's calm demeanor. And it's entirely fitting that the final shot of Ozu's last film -- Shuhei, saying softly to himself, "Alone, eh?" -- features Ryu, the actor who appeared in so many of his films that he seemed to be Ozu's alter ego.

#An Autumn Afternoon #Yasujiro Ozu #Chishu Ryu

[tsukuharuko]

@crossingredqueensrealm​

“You’re welcome!” Saya smiled. While Haruko was busy getting changed, Saya called her twin and her friend over and explained to them that the daughter of the chef, Tsukushima-san, was here to help out. She was nervous so maybe it would be good to see that there were others her age her around.

Mika grumbled. “Why do I have to introduce myself to some girl from the country?”

“Mika!” Saya and Masaru exclaimed simultaneously in a scolding tone. 

“Don’t be mean, otherwise I’ll tell Oba-chan on you.”

Mika stuck her tongue out but Saya knew Mika wasn’t going to argue back because Oba-chan also had her scary side.

When Haruko returned, Saya smiled as she replied with her eyes closed “Introductions!”

“This is my younger twin, Mika.” She gestured at the girl who was practically a mirror to her except for her long hair and blue eyes.

“How do you do?” Mika replied with an angelic smile. At least she was behaving.

“And this is my friend, Kato Masaru.” She gestured to a young man with black hair and dark brown eyes and except for the fact he was 12.7 centimeters shorter and had different colored features, he looked like Midorima Shintarō!

“Pleased to meet you.”

When she returned to the main room, Haruko was too anxious to right away focus the two people standing next to Saya. For a moment she thought she was seeing double: one of them really looked identical to the new colleague, if not for the eye colour and hair length. But Saya’s introduction made it clear right away: they were twins!

“Ah! A twin! That’s so cool!” She took Mika’s hand and shook it enthusiastically. "You know, it’s the first time I see a twin! It’s actually pretty exciting!”

Then she focussed on the next person -- and there, her stomach dropped and her face went wane.

Oh god, he looks just like that weirdo from my school!

He had to be a twin too. The only thing that kept her from fainting right away upon seeing him were his different eye and hair colour -- if it hadn’t been for those and a few minor things, he’d be the identical copy of Midorima Shintaro!

She started stammering once more.

“I-- Uh. You-- D-Do you have a twin, too?”

#crossingredqueensrealm #(sorry tumblr messed up!) #(had to do a new post)

[623duck]

2023.05.20

ドキュメンタリー映画『世界で戦うフィルムたち』

本日より、池袋シネマ・ロサにて劇場公開です。 そのほかの劇場は順次公開してまいりますので、続報をお楽しみに。 ーー Documentary film "The Night Before Upheaval"

The film will open today at the Ikebukuro Cinema Rosa. Other theaters will follow in due course, so please look forward to further updates.

【あらすじ】

世界に向けて挑戦を続ける若手映画監督・亀山睦木が、日本映画の未来を模索した実録ドキュメンタリー。

亀山監督は自身の監督作「12ヶ月のカイ」を110以上もの海外の映画祭に応募し、現地の声を聞くためアメリカからヨーロッパまで足を運んだ。その道のりを追い、キャストやスタッフの思いを込めた作品を1人でも多くの観客に観てもらうべく奮闘する亀山監督の姿を映し出す。

さらに亀山監督は、日本を代表する俳優・寺島しのぶ、ハリウッド作品も手がける清水崇監督や北村龍平監督ら映画関係者にインタビューを敢行。世界で活躍する日本人の経験や、若手監督・俳優のリアルな苦悩が本人たちの言葉で語られる。 ーー 【STORY】 This is a true-life documentary by Mutsuki Kameyama, a young film director who continues to challenge the world, in search of the future of the Japanese film industry.

Kameyama submitted their film "12 Months of KAI" to over 110 overseas film festivals, and traveled from the U.S. to Europe to hear the voices of local audiences. The film follows Kameyama's journey and their struggle to get as many viewers as possible to see their film, which is filled with the thoughts and feelings of the cast and crew.

They also interviewed leading Japanese actor Shinobu Terajima, as well as directors Takashi Shimizu and Ryuhei Kitamura, who have also worked on Hollywood productions, and others involved in the film industry. In their own words, they speak of the experiences of Japanese filmmakers working around the world and the real-life struggles of young directors and actors.

【出演】

北村龍平 谷垣健治 清水崇 深田晃司 片山慎三 祐真キキ / 寺島しのぶ 松本卓也 宇賀那健一 戸田彬弘 野本梢 加藤綾佳 石橋夕帆 田中大貴 皆川暢二 中屋柚香 中垣内彩加 工藤孝生 岡田深 大石菊華 今村左悶 カン・ハンナ Michael A Stackpole Neilson Black Louis Savy 掛尾良夫 矢田部吉彦

【スタッフ】

監督：亀山睦木 企画 : noadd プロデューサー : 浦野大輔 吉野匡志 鈴木遥 山田百合菜 アソシエイトプロデューサー : 吉丸佳予子 音楽 : 今村左悶 イラスト : カタユキコ キャスティング : 本間祐樹 ( スカリー ) 神原健太朗 門田治子　 ヘアメイク : 清水彩美 光倉カオル (dynamic 所属) スタイリスト : 中井綾子 (crepe 所属) モーショングラフィック: 小野越生 整音・音響効果 : 松野泉 製作・配給 :ノアド株式会社　 助成 : 文化庁「ARTS for the future! 」補助対象事業 ーー 【Interviewee】

Ryuhei Kitamura, Kenji Tanigaki, Takashi Shimizu, Koji Fukada Shinzo Katayama, Kiki Sukezane / Shinobu Terajima Takuya Matsumoto, Kenichi Ugana, Akihiro Toda, Kozue Nomoto Ayaka Kato, Yuho Ishibashi, Daiki Tanaka, Youji Minagawa Yuzuka Nakaya, Ayaka Nakagochi, Kosei Kudo, Jin Okada Kikka Oiwa, Samon Imamura, Kang Hanna Michael A Stackpole, Neilson Black, Louis Savy, Yoshio Kakeo, Yoshi Yatabe

【Staff】

Director：Mutsuki Kameyama Producer : Daisuke Urano, Tadashi Yoshino, Haruka Suzuki, Yurina Yamada Associate Producer : Kayoko Yoshimaru Music : Samon Imamura Illustlation : Yukiko Kata Casting : Yuki Honma (SKALY), Kentaro Kanbara, Haruko Monda　 Hair and Make : Ayami Shimizu, Kaoru Mitsukura(dynamic) Stylist : Ayako Nakai(crepe) Motion Graphic : Essei Ono Sound Design & Effects : Izumi Matsuno Produce & Distribution : noadd Inc. Supported by Agency for Cultural Affairs「ARTS for the future! 」

#世界で戦うフィルムたち #The Night Before Upheaval #Youtube

[undiaungato]

Mishima: A Life in Four Chapters (1985) · Paul Schrader

#mishima a life in four chapters #paul schrader #yukio mishima #haruko kato #masato aizawa #kabuki

[newsintheshell]

Ensemble Stars: gli idol di Happy Elements sbarcheranno al cinema con un film

La pellicola, targata ancora una volta David Production, sarà ambientata a New York.

La casa di sviluppo Happy Elements ha annunciato che l’anime di “Ensemble Stars!” tornerà nel 2022 e questa volta approderà sul grande schermo.

Per il prossimo 4 marzo, infatti, è programmato il debutto in Giappone di un film d’animazione dal titolo “Ensemble Stars!! Road to Show!!”, che vedrà i giovani idol, protagonisti del franchise, partecipare ad un Idol Film Festival in quel di New York.

La pellicola torna ad essere prodotta da DAVID PRODUCTION (Cells at Work! Lavori in Corpo, Fire Force), ma vede al lavoro uno staff leggermente diverso da quello della precedente serie tv andata in onda nel 2019.

Il progetto è infatti supervisionato da Asami Nakatani e diretto da Masakazu Hishida (Fairy Ranmaru, King of Prism), mentre la sceneggiatura è firmata da Seitaro Kino di Happy Elements. In compenso, il character design è curato nuovamente da Haruko Iizuka (Josée la Tigre e i Pesci, Children of the Whales) e anche le musiche sono composte ancora una volta da Tatsuya Kato (Love Live! Sunshine!!, Free!).

Nato con l’omonimo videogioco mobile, il franchise si compone anche di manga, romanzi, album e musical. 

* NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! *

Autore: SilenziO)))

[FONTE]

#ensemble stars! #anime #film #videogame #happy elements #ensemble stars #road to show #idol #newsintheshell #cartoni animati #news in the shell #animazione #musica #giappone #new york

[pkjd]

New MaM and Eden unit character visuals for the TV anime “Ensemble Stars!” have been released. Its broadcast will begin July 7th (David Production)

-Synopsis-

“Yumenosaki Private Academy, a school located on a hill facing the ocean. Specializing in boys’ idol training, the school has a long history of producing generations of idols for the entertainment world out of the young men overbrimming with talents, like the shining stars in the sky. Due to “special circumstances,” you are a transfer student at the school, as well as the only female student there. In fact, you are chosen to be the very first student of the “producer course,” and your task is to produce these idols… We hope you will enjoy your journey with the idols you meet at the academy, as well as the vigorous ensemble that together you will make.”

-Staff-

Director: Junpaku Yagurashita, Yasufumi Soejima

Character Design: Haruko Iizuka

Series Composition: Akira

Art Director: Saho Yamane

Director of Photography: Tomoya Kamijou

Editing: Mai Hasegawa

Color Key Artist: Eri Suzuki

3D Director: Daisuke Kusaka

Sound Effects: Takatoshi Hamano

Music Producer: Satoru Kuwabara

Music: Tatsuya Kato

Studio: David Production ​​​

via: ensemblestars-anime.com

#ensemble stars! #anime

[tar0log]

NHK Special "Can Mathematicians Connect the Universe?"

I watched the program. Many people who saw it might take it that Mochizuki is a new-age genius who is pioneering "new mathematics" and that many mathematicians who object are old guard who cannot understand "new mathematics". My impression is that this is somewhat misleading.

I can understand why people are waiting for a hero. In these gloomy times, it is understandable that the average Japanese would like to see a genius like Shohei Ohtani or Sota Fujii in the world of mathematics (and hopefully it will be a Japanese). But such sentiments have nothing to do with whether a certain person's theory is correct or not.

As I have written many times, there are countless examples of research misconduct encouraged by the atmosphere of people waiting for their heroes. Hendrik Schön, Hwang Woo Suk, Shinichi Fujimura, Haruko Obokata, and many others. Certainly, IUT is not research misconduct, but I cannot help but feel the same "unhealthiness" as research misconduct in the way Mochizuki's paper was forced to be published without substantive revisions despite the objections of the world, and in every word and action of Mochizuki and his sympathizers.

Specifically speaking about this program, I found the following points to be problematic.

No mention of the fact that Mochizuki's paper was published in an "inside" journal PRIMS, which is published by Mochizuki's organization and for which he serves as the editor-in-chief.

The wrong explanation is given: "If it is peer-reviewed in a professional journal, it can be regarded as a recognition of (a certain degree of) correctness by the academic community.

The program emphasizes only the unnecessarily grandiose assertion that "the clash of opinions on IUT is a debate over the state of mathematics itself," and fails to mention the specific point that there is a gap in the Mochizuki paper, Corollary 3.12.

The explanation is given as if Scholze was the only person who had a seminar with Mochizuki at Kyoto University and there is no mention of Stix.

No mention of Mochizuki's dishonesty in continuing to use the derogatory term "Redundant Copies School (RCS)" in his rebuttal paper instead of mentioning Scholze-Stix's name.

No mention of the fact that zbMATH adopted Scholze's review in which he says that Mochizuki's paper does not prove the ABC conjecture.

Only discusses Fumiharu Kato's comment that "This is my opinion, but it is by no means a gap in a mathematical sense" and "I think it is a difference in epistemology towards the subject", and fails to mention Scholze-Stix's point that "there is a specific mathematical gap in Cor.3.12."

Despite the seminar between Scholze, Stix and Mochizuki (and Yuichiro Hoshi) in 2018, where Scholze and Stix raised doubts about Cor.3.12, the final version of the Mochizuki paper, published in 2020, does not cite or acknowledge Scholze-Stix at all. No mention of it in the program.

In the program, Thomas Tucker (University of Rochester) says "If ABC is proved, it will be ...", but that part is not translated in Japanese. Only the Japanese dubbed voice and subtitles, "This is the greatest advance in the history of number theory," and "There is no greater achievement," are superimposed on the audio, and the video is edited as if Tucker is admitting the correctness of Mochizuki's paper.

It seems that NHK BS Premium will broadcast the "complete version" expanded to 90 minutes on April 15, but NHK BS is not available in my house...

#abc

[byneddiedingo]

Reiko Dan in The End of Summer (Yasujiro Ozu, 1961)

Cast: Ganjiro Nakamura, Setsuko Hara, Yoko Tsukasa, Michiyo Aratama, Keiju Kobayashi, Masahiko Shimazu, Hisayu Morishige, Chieko Naniwa, Reiko Dan, Haruko Sugimura, Daisuke Kato. Screenplay: Kogo Noda, Yasujiro Ozu. Cinematography: Asakazu Nakai. Production design: Tomoo Shimogawara. Film editing: Koichi Iwashita. Music: Toshiro Mayuzumi.

I would call Ozu the most "Chekhovian" of filmmakers because his movies really do remind me of Chekhov's plays. But the adjective has been so overused to the point that all it seems to mean is "a melancholy character study with a little humor, no action, and not much plot." That is, of course, true of The End of Summer, but it doesn't come close to capturing the effect of the film (and of the best performances of Chekhov's plays), the sense of having spent privileged moments with people as they go through the universal experiences of living: love, disappointment, death, reconciliation, coping with the past, and so on. It's about the Kohayagawa family, who run a small sake brewery that's in financial difficulties, partly because the patriarch, Manbei (Ganjiro Nakamura), has lost interest in the company. In his old age, he has rediscovered a former mistress, Sasaki (Chieko Naniwa), whose 21-year-old daughter, Yuriko (Reiko Dan), may be his own child. She's a flighty young thing who has a couple of American boyfriends and really hopes only to get a mink stole out of Manbei. Meanwhile, his own family struggles to figure out what to do with the business and how to keep track of Manbei, sometimes sending out employees to follow him on his excursions to see Sasaki. Manbei has two daughters, Fumiko (Michiyo Aratama) and Noriko (Yoko Tsukasa), as well as a daughter-in-law, Akiko (Setsuko Hara), his son's widow. Fumiko is married, and Manbei wants to get Noriko and Akiko married off before he dies, so he asks his brother-in-law, Kitagawa (Daisuke Kato), to find husbands for them. Neither woman is particularly interested in Kitagawa's picks, but they go through the motions to please Manbei. Like I said, not much plot, but Ozu and co-screenwriter Kogo Noda make the most of the characters, particularly Manbei himself, whom Nakamura turns into an endearing scamp. As often in Ozu's films, there are peripheral characters who serve as a kind of chorus: In this case, it's a couple of farmers (Chishu Ryu, who appeared in almost all of Ozu's films, and Yuko Mochizuki) who watch the funeral procession at the film's end and provide the appropriate comment about the "cycle of life."  

#The End of Summer #Yasujiro Ozu #Reiko Dan

[animeichan]

A Journey Beyond: The Rank Ups for the Most Regard Alien Characters in the Anime! (Top 10 and more!)

A Journey Beyond: The Rank Ups for the Most Regard Alien Characters in the Anime! (Top 10 and more!)

The universe is vast and its life has been rolling for billions of years. It is inevitable to think that somewhere out there, a lifeform so advance, something beyond our imaginations have exist for who knows since when. Thoughts made stronger by the mankind’s greatest thinkers and made even richer by our ever-growing imagination.

Surely, this have sparked the birth of numerous contemporary works…

View On WordPress

#Alien #Aya Hirano #Dragonball #Earth #Emiri Kato #Extraterrestrial #FLCL #Frieza #Fumi Hirano #Gintama #Haiyore! Nyaruko-san #Haruko Haruharu #Kagura #Kana Asumi #Kiseijuu: Sei no Kakuritsu #Kyubey #Lala Satalin Deviluke #Lum #Mahou Shoujo Madoka Magica #Migi #Minori Chihara #Nyaruko #Orikasa Ai #Parasyte: the maxim #Rie Kugimiya #Ryouko Hakubi #Suzumiya Haruhi no Yuutsu #Tenchi Muyou! Ryououki #To Love Ru #UFO

[michaelcosio]

The official “A Good Look” music video – from the album and Netflix Original Anime film: SOUND & FURY – available now

Director: Jumpei Mizusaki

Unit Director: Shinji Takagi

Mechanical Design / M4 Storyboard: Daisuke Sajiki

Look Development:  Elsa Nakamichi

CGI Director: Takafumi Utsunomiya

Animation Director:  Takashi Ishikawa

Modeling Lead: Midori Kato

Additional Design:  Huang Chong Ya (Studio5), Tina Wang (Studio5)

Modeling: Suzu Kobayashi, Risa Okada, Benio Sugibayashi, Takeshi Ishiuchi, Thibault Tresca, Ada Ke (Studio5), Chen Li Ju (Studio5), Li Wei Tzu (Studio5), Yu Ting Wang (Studio5), Chen Yu Wei (Studio5), Han Tsung Chun (Studio5), Yoshi Wakayama

Animation: Kenta Yoshino, Syunya Iwamoto, Kentaro Moteki, Takeshi Ishiuchi, Masaki Takahashi, Yuya Matsuzaki, Syogo Konishi, Sari Nagano, Yuki Nakajima, So Nagata, Yu Chi Han (Studio5), Hung Tsai Lin (Studio5), Lu Chiao Wen (Studio5), Tang Haowei (Studio5)

Effect / UI Design:  Yuta Matsumoto

Key Animation: Maki Yamakoshi, Masaki Takahashi, Benio Sugibayashi, Tatsuya Asakura, Seijin Thomas, YukiHino (Liden Films), Hiroyasu Oda (Launch Box)

In-between Animation / Ink and Paint: Maki Yamakoshi, Masaki Takahashi, Benio Sugibayashi, Tatsuya Asakura, Seijin Thomas

In-between Animation: Sayaka Ishizuka (Liden Films), Tomoki Urata (Liden Films), Wang Xintong (Liden Films), Miyu Ohkubo (Liden Films), Lin Tzu Hao (Liden Films), Kouhei Hirasawa (Liden Films), Makoto Eto (Launch Box)

Ink and Paint: Yoshiha Nakamura (BeLoop), Reia Tanaka, Akihiko Uezuka, Ayaka Tetsuoka, Akari Tomari

Supervising Color Designer: Satoko Kimura

M4 Color Supervisor: Akira Hashigami (BeLoop)

Art Director: Yuji Kaneko (aoshashin.inc), Ken Nakamura (aoshashin.inc)

Art Setting / 2nd Key Animation: Yoshihiro Sono, Susumu Mamura

2nd Key Animation: Daisuke Sajiki

Background Art: Souta Kameyama (Aoshashin.inc), Ryoutaro Ueda (Aoshashin.inc), Taro Goto (Aoshashin.inc)

Texture Artist: Elsa Nakamichi, Benio Sugibayashi, Tomoe Nakano, Shiori Kato, Tsubasa Goto, Natsuko Takao, Yasuko Miura, Hiromitsu Saito, Yuki Narita

Compositor: Tomoe Nakano, Chen Yun An

Director of Photography: Jumpei Takatsu (LIDEN FILMS)

Cinematography: Mami Takamura (LIDEN FILMS), Tomoaki Suzuki (LIDEN FILMS)

Production Managers: Haruko Kitakura, Kaori Satake

Production Cooperation: Kohei Fujiwara, Chug Yi Jui (Studio5), Tomohiro Toyozono (Studio5), Kei Shimobayashi (LIDEN FILMS)

Producer: Kaori Satake

Episode 4: Dance Part Director: Elsa Nakamichi

Co-Director / Animation: Kenta Yoshino, Syunya Iwamoto, Takeshi Ishiuchi, Yuya Matsuzaki, So Nagata, Thibault Tresca

Animation Cooperation: Studio5

Animation Lead: Lin Yi-Ju (Studio5)

Dance Animation: Liu Jia-Wei (Studio5), Shen Yi-Shin (Studio5)

Flip Board Images: Daisuke Sajiki, Yasuko Miura

CG Production Assistant: Masaki Takahashi, Syogo Konishi, Sari Nagano

Backgrounds: RUNPU

Background Graphics: Shunsuke Ohyama (RUNPU), Kazunori Nakahara (RUNPU)

Effects: Yuta Matsumoto

Cinematography: Elsa Nakamichi, So Nagata, Tomoe Nakano, Chen Yun An, Thibault Tresca

Dance: SOLID CUBE

Choreographer / Dancer: Keiko Fukushima

Casting: Nami Harada

Coordinators: Yuki Ikegaya

Producer: Takayuki Sasaki

from SturgillSimpson

[tsushimarp]

Conheça mais de @tsu_yakato!

NOME: Tetsuya Kato. USER DO TWITTER: @ tsu_yakato DATA DE NASCIMENTO / IDADE: 01 de fevereiro de 1999 / 21 anos. GÊNERO: Masculino. NACIONALIDADE:  Japão. ETNIA: Japonesa. OCUPAÇÃO: Funcionário da Padaria Moolin e entregador.

Residente em CHITOSE desde 2007.

PERSONALIDADE Olha, normal saber o nome dele. Seja pelos gritos na padaria – Kato isso, Kato aquilo, Kato cá – ou pelos mil cumprimentos dos mil comerciantes que começam o dia cedo. Até mesmo uns viajantes curtindo as férias provavelmente vão conhecer Kato, que é cara de pau e coração bom o suficiente para até mesmo dar uma ajuda e fazer uma tour – depois de fazê-los sentar e comer algo na padaria, claro. Não se acha o dono da cidade no mau sentido, mas às vezes sente como se quisesse conquistar ela e o mundo. Quer crescer, dono de uma criatividade, energia e força de vontade gigante, ele só não sabe para qual direção. Nesse sentido, é um perdido. Aí, ele prefere nem falar muito sobre esses assuntos ou vai acabar querendo ser médico na quarta e acordar na sexta decidido em abrir uma livraria mesmo. Aliás, gosta de ler, mas não tem nenhum tipo favorito. Prefere histórias curtas, porque para alguns assuntos se torna alguém que se cansa. Paciência não é seu forte, e às vezes é preciso alguém segurar antes que dele agir por impulso, seguindo o coração. Irritar ele é fácil: o faça perder tempo, não cumpra o combinado e tire proveito dos outros. 

PASSADO Puta vida difícil aquela de mãe barriguda e nenhum pai para a criança. É claro que Haruko sabe quem foi o homem com quem deitou e engravidou, mas ela mesma foi a primeira a fugir. Essas amarradas não era com ela – não é com ela. Haruko é como um pássaro, e foi só dessa vez que derrapou. Por sorte, deu para disfarçar a barriga que crescia e abafar as fofocas antes que elas começassem e terminassem em sua demissão na escola qual lecionava. As férias foram programadas para serem tiradas quando o filhote nasceu. Kato, ela não gastou muito tempo procurando o nome – viu em algum revista e ficou esse mesmo. Não que Kato saiba sobre tal descaso, só diz que seu nome saiu de uma revista, se perguntarem. Na verdade, ele não sabe muita coisa sobre Haruko. Cresceu com ela e os avós, na ilha; depois, aos oito, voltou para Tóquio com a mãe – que àquela altura já tinha alunos de outra escola, cuja diretora conhecia os velhos Tetsuya e acredita que o futuro é feminino; que Haruko não precisava de homem algum para criar um filho, quiçá viver. O complicado foi quando Haruko, como um tal pássaro, se sentiu um tanto presa pelo filho. Aí, não teve jeito: Kato voltou para a ilha, voltou para os cuidados de seus avós. 

PRESENTE Se o perguntarem se ele guarda alguma mágoa de Haruko, ele não vai mentir ao dizer que não muito. Quer dizer, aprendeu com ela que tinha asas e um canto – a ser um passarinho. Dizem que ele mais soa como um desapegado, mas deixa quieto, vai, porque Kato e Haruko se entendem do jeito deles. E como filho de passarinho, ele gosta da ideia de sair por aí e se aventurar. É por isso que se tornou entregador – bicicleta, lambreta, depende de muita coisa – para a padaria de família, de anos! Aliás, o melhor pão doce é de lá, ele garante – e está até mesmo aprendendo a fazer os diversos tipos. ( Os primeiros baguetes da manhã, capaz de ter sido ele, ein? ) Mas não só pães ele entrega, se pagar, vale aquela encomenda ou recado.  

FUTURO Kato olha para o futuro e ainda é difícil de falar sobre. Quer dizer, ele até garante que em algum momento vai realizar o sonho de viajar por todo Leste Asiático e Europa só com uma mochila, mas fora isso? Bom, talvez continuar com os negócios dos velhos. Talvez, floresça a vontade de fazer uma faculdade de Economia ou Administração, só para saber como expandir a padaria – vai que chegue em Tóquio?! Já se perguntar sobre amanhã ou próxima semana? Capaz de ele terminar as anotações sobre cantos e becos que explora entre uma entrega ou outra; sobre as experiências com os estrangeiros com quem arranha o inglês e de quem costuma ganhar lembrancinhas e uma amizade ao fim da viagem. Talvez, ele passe mais tempo na oficina, sonhando com o dia em que vai terminar de montar a Mou, sua moto. Sei lá, ainda precisa se encontrar  

ORIENTAÇÃO SEXUAL: bi/pansexual. TEMAS DE INTERESSE: Angst; Crack; Fluff; General; Romance; Smut. FACECLAIM: Mika Hashizume.

#tsu:follow #mika hashizume #tetsuya kato

[recentanimenews]

Manga Giveaway: A Cache of Kodansha Comics Winner

And the winner of the manga giveaway for a cache of Kodansha Comics is… Dawn!

As the winner, Dawn (whose terrific Anime Nostalgia Podcast also happens to be hosting a giveaway right now) will be receiving the first volumes of Descending Stories: Showa Genroku Rakugo Shinju by Haruko Kumota, Kigurumi Guardians by Lily Hoshino, Land of the Lustrous by Haruko Ichikawa, and Love & Lies by Musawo, all of which debuted in English from Kodansha Comics this past year. In addition to its print releases, Kodansha Comics has also had a particularly good showing in 2017 digitally. And so for this giveaway, I asked participants to tell me a little about their own reading habits and preferences when it comes to print versus digital manga. The responses were really great, so be sure to check out the giveaway comments!

Kodansha Comics’ 2017 Print Manga Debuts Aho-Girl by Hiroyuki Appleseed Alpha by Iou Kuroda Battle Angel Alita by Yukito Kishiro Cardcaptor Sakura: Clear Card by CLAMP Clockwork Planet by Kuro Descending Stories: Showa Genroku Rakugo Shinju by Haruko Kumota Fairy Tail: Rhodonite by Kyouta Shibano Fairy Tail: S by Hiro Mashima Frau Faust by Kore Yamazaki Ichi-F: A Worker’s Graphic Memoir of the Fukushima Nuclear Power Plant by Kazuto Tatsuta Kigurumi Guardians by Lily Hoshino Kiss Me at the Stroke of Midnight by Rin Mikimoto Land of the Lustrous by Haruko Ichikawa Love and Lies by Musawo Neo Parasyte M by Various That Time I Got Reincarnated as a Slime written by Fuse and illustrated by Taiki Kawakami To Your Eternity by Yoshitoki Oima Toppu GP by Kosuke Fujishima Waiting for Spring by Anashin Wake Up, Sleeping Beauty by Megumi Morino

Kodansha Comics’ 2017 Digital Debuts Ace of the Diamond by Yuji Terajima All-Out by Shiori Amase] All-Rounder Meguru by Hiroki Endo Altair: A Record of Battles by Kotono Kato Aoba-kun’s Confessions by Ema Toyama Ayanashi by Yukihiro Kajimoto Beauty Bunny by Mari Yoshino Black Panther and Sweet by Pedoro Toriumi Blame! Academy and So On by Tsutomu Nihei Chihayafuru by Yuki Suetsugu Cosplay Animal by Watari Sakou Days by Tsuyoshi Yasuda Deathtopia by Yoshinobu Yamada Domestic Girlfriend by Kei Sasuga Drifting Dragons by Taku Kuwabara Drowning Love by George Asakura Elegant Yokai Apartment Life written by Hinowa Kouzuki, illustrated by Waka Miyama The Full-Time Wife Escapist by Tsunami Umino Giant Killing written by Masaya Tsunamoto, illustrated by Tsujitomo Grand Blue Dreaming written by Kenji Inoue, illustrated by Kimitake Yoshioka GTO: Paradise Lost by Toru Fujisawa Hotaru’s Way by Satoru Hiura House of the Sun by Taamo Hozuki’s Coolheadedness by Natsumi Eguchi I Want to Hold Aono-kun So Badly I Could Die by Umi Shiina I’m in Love and It’s the End of the World by Taamo Kasane by Daruma Matsuura Kokkoku: Moment by Moment by Seita Horio Koundori: Dr. Stork by You Suzunoki Love’s Reach by Rin Mikimoto Lovesick Ellie by Fujimomo Magical Sempai by Azu Museum by Ryousuke Tomoe My Brother the Shut In by Kinoko Higurashi Our Precious Conversations by Robico Peach Heaven by Mari Yoshino PTSD Radio by Masaaki Nakayama Rave Master by Hiro Mashima Real Girl by Mao Nanami Shojo Fight! by Yoko Nihonbashi A Springtime with Ninjas by Narumi Hasegaki Tokyo Tarareba Girls by Akiko Higashimura Tsuredure Children by Toshiya Wakabayashi Until Your Bones Rot by Yae Utsumi Wave, Listen to Me! by Hiroaki Samura

Assuming that I didn’t miss any (I’m sure I have and some of the digital titles probably haven’t even been revealed yet), Kodansha Comics had twenty print debuts last year (most if not all of which are also available digitally) and forty-five digital debuts (a few of which will eventually be released in print, too). By the end of the year, Kodansha Comics will have debuted more than sixty-five new titles in addition to its other continuing series! It’s great to see how much is being published in English these days in print and digitally, and not just by Kodansha Comics. Thank you to everyone who shared your reading preferences with me! Both digital and print manga have their pros and cons, so I found all of your responses very interesting. I hope to see you again at the end of December for one last giveaway here at Experiments in Manga!

By: Ash Brown

#Anime #News #Manga Bookshelf

[clemsfilmdiary]

An Autumn Afternoon / Sanma no aji (1962, Yasujirō Ozu)

秋刀魚の味　（小津安二郎）

11/1/20

#60s #An Autumn Afternoon #Yasujiro Ozu #Shima Iwashita #Chishu Ryu #Keiji Sada #Mariko Okada #Eijiro Tono #Nobuo Nakamura #Kyoko Kishida #Haruko Sugimura #Daisuke Kato #Japanese #drama #gendaigeki #families #marriage #father and daughter #matchmaking #widowers #elderly #aging #loneliness #wedding #drinking #money #age difference