2005
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KIYOSHI KUROSAWA. By Gary Indiana. I DISCOVERED Kiyoshi Kurosawa’s film Cure (1997) while working on Pariah, a film about Ulrike Meinhof that deals with the “spell” cast by leaders over followers and with the conditions that promote violent solutions to social problems. Meinhof, a widely respected journalist and social critic, had not ...
Kiyoshi Kurosawa, Tokyo Sonata, 2008, color film in 35 mm, 119 minutes. Production still. Kenji Sasaki (Kai Inowaki). VENTURING OUTSIDE the paranormal zone that he defined with films such as Cure (1997), Charisma (1999), Pulse (2001), and Doppelganger (2003), Kiyoshi Kurosawa proves himself prescient as ever.
Dec 15, 2020 · Kiyoshi Kurosawa, To the Ends of the Earth, 2019, HD video, color, sound, 120 minutes. Yoko (Atsuko Maeda). Yoko (Atsuko Maeda). Yoko’s isolation is in part her own making: She may be lonely, lost, and diffident, but these qualities coalesce with what might be a touch of xenophobia as she performs a clumsy ballet of avoidance across Uzbekistan.
Kiyoshi Kurosawa, To the Ends of the Earth, 2019, HD video, color, sound, 120 minutes. Yoko (Atsuko Maeda). 7. TO THE ENDS OF THE EARTH (Kiyoshi Kurosawa) A musical, a travelogue, a feminist awakening—every minute is surprising. J-pop idol Atsuko Maeda is the director’s Anna Karina. As of this writing, there is no US distribution, which is ...
Japan may have been the first test case for the phenomenon of national cinema, as films such as Kurosawa’s Rashomon (1950), Teinosuke Kinugasa’s Gate of Hell (1953), Mizoguchi’s Ugetsu (1953), and Hiroshi Inagaki’s Samurai, the Legend of Musashi Miyamoto (1954) received honorary Academy Awards and plaudits at Venice and Cannes. In the paradoxical logic of national cinemas, Japanese cinema—exotic, unfamiliar, different—became familiar.
In this exhibition, Chuck Holtzman has proved himself at home working on large-scale sculpture while maintaining the sense of finesse and miniaturist craftsmanship that characterized his tiny constructivist manipulations of hand-cut wood and accompanying charcoal drawings. Typically six feet in height and composed of at least 250 pieces of wood ...
The most famous sequence shows the team attacked in a deserted shopping mall. They mount their defense with unruffled precision. As they take up positions, in tensely poised postures, we wait. Their maneuvers are subjected to a geometrical rigor and a terrible stillness reminiscent of Kurosawa but new to Hong Kong film.
Kiyoshi Awazu, graphic designer, showed a large basin in which a lot of print type was scattered under water tinted with blue ink. The breeze from an electric fan spread the ink, and the letters momentarily appeared and disappeared on the surface of water. The artist called the work Crawling Design to be looked down upon. Fuji Tanaka, one of ...
The remarks were published in the January 1969 issue of a short-lived but important journal, the Design Review (Dezain hihyō), that ran from late 1966 through 1970 under the leadership of graphic designer Kiyoshi Awazu. As Yokoo recounts his career, which began while he was still in high school and included a stint at the stylish and influential Nippon Design Center (NDC), he traces an internal conflict and its resolution: At first, he says, he was ashamed to put his talents to work for his ...
IN 1911 the Mitsukoshi Department Store in Tokyo—among the oldest in the world, established in 1673 as a kimono fabric shop—sponsored a much anticipated and lucrative competition for an artwork that could be deployed for a publicity campaign. The winning entry, a gorgeous, self-referential oil painting by Hashiguchi Goyō called Kono bijin (This Beauty), depicts an impeccably dressed modern woman perched on an Art Nouveau settee that wouldn’t be out of place in Paris.
