#Haruko Kato

[fuckyeahmeikokaji]

Cast photo for Kantaro Terauchi Family (寺内貫太郎一家), 1974. The 39 episode drama starred, from top left to bottom right:

Momoko Ikeda (いけだももこ) Hiroko Shino (篠ヒロコ) Tonpei Hidari (左とん平) Hideki Saijo (西城秀樹) Miyoko Asada (浅田美代子) Toru Yuri (由利徹) Tatsuya Fuji (藤竜也) Haruko Kato (加藤治子) Asei Kobayashi (小林亜星) Chiho Yuki (悠木千帆) Meiko Kaji (梶芽衣子)

[shihlun]

Akio Jissoji

- Nami no bon AKA Lanterns on Blue Waters

1983

[camyfilms]

ハウルの動く城 2004

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

[byneddiedingo]

Kinuyo Tanaka and Isuzu Yamada in Flowing (Mikio Naruse, 1956)

Cast: Kinuyo Tanaka, Isuzu Yamada, Hideko Takamine, Mariko Okada, Haruko Sugimura, Sumiko Kurishima, Chieko Nakakita, Natsuko Kahara, Seiji Miyaguchi, Daisuke Kato. Screenplay: Toshiro Ide, Aya Koda, Sumie Tanaka, based on a novel by Koda. Cinematography: Masao Tamai. Production design: Satoru Chuko. Film editing: Eiji Ooi. Music: Ichiro Saito. 

Having been a college English teacher and a print journalist, I know something about what it's like to be in a dying profession. So I have some empathy with the women in the geisha house in Mikio Naruse's Flowing. Their story is told largely from the point of view of Rita Yamanaka (Kinuyo Tanaka), whose name the owner of the house, Otsuta (Isuzu Yamada), finds too difficult to pronounce, so she calls her Oharu, a name that will have resonance for anyone who has seen Kenji Mizoguchi's 1952 masterpiece, The Life of Oharu. But unlike Mizoguchi's heroine, this Oharu is a simple woman in a profession that will probably never vanish: a maid. Her quiet ubiquity in the house enables her to see and hear things that heighten her mistress's financial struggles and the household's eventual doom. Equally valuable is the role of Katsuya (Hideko Takamine), Otsuta's daughter, who was trained as a geisha but doesn't want to be one. She regards her mother's profession as a commodification of self. Unfortunately, Katsuya has no marketable skills and is struggling to find her way in a male-dominated world. Naruse's film is a poignant and searching commentary not only on the disappearing way of the geisha but also on the role of women in a society trying to redefine the relationship between the sexes. Tanaka, Yamada, and Takamine are three of the greatest Japanese actors; it's a treat to see them working together, and they're beautifully supported by the rest of the cast.   

[adamwatchesmovies]

Howl's Moving Castle (2004)

Even among Hayao Miyazaki’s filmography, Howl’s Moving Castle is a standout. Filled with breathtaking visuals and sophisticated emotions, it’s so unconventional you need to watch it more than once to fully appreciate the film but what makes it good is so immediately obvious, it’s also a case of love at first sight.

On a way to visit her sister, hatmaker Sophie (voiced by Chieko Baisho) meets a wizard named Howl (Takuya Kimura). She finds him irresistible and although Sophie considers herself a mousy wallflower, she catches his eye. Her visit concluded, Sophie meets the Witch of the Waste (Akihiro Miwa) and is transformed into an old woman. Determined to make the best of her new situation, the now ninety-year-old Sophie enters Howl’s moving castle and “hires herself” as his cleaning lady.

This is a stunning film. From the character designs to the detailed backgrounds and the crisp animation, no detail has been spared to bring this world to life. In outdoor scenes, we can see strands of grass far behind the scene’s focus waving in the wind. The streets are filled to the brim with people going about their own thing. Only the most talented and determined animators could put that much detail in every scene. It’s easy to imagine what must happen to everyone beyond the borders of the frame, which leads us to the secondary plot taking place in the background: Sophie’s nation is caught up in a war with a neighboring kingdom. We regularly see flying machines taking off and heading to who-knows-where. What does it have to do with the main story? It isn’t apparent until we meet Howl. As a wizard, he’s being summoned to fight for the King. He doesn’t want to. Everyone, including his former teacher, Suliman (Haruko Kato), says it’s because he’s a coward. You’re not so sure.

We’ve gotten side-tracked. I was about to tell you about the titular castle: an unforgettable hodge-podge of rooms, pipes, gears and windows unlike anything you’ve ever seen. The ambulant home is as much a character as everyone else. It’s bizarre, kind of scary and wonderful all at once. Pieces are constantly shifting as its legs go up and down but on the inside, it’s a comfortable (though considerably filthy) place that evokes a sense of wonder. 

The second most memorable aspect of the film is Sophie. In any other picture, her quest to get rid of the curse that transformed her into a woman as old-timey and boring as she is on the inside would be the focus. The fact that she is dull and insecure means she instead focuses her time on 1) running away from her hat shop so her family doesn’t know what happened to her and 2) making the best of her situation. Weirdly, her acceptance of what’s happened is the key to breaking the curse. It’s very subtle - so much that it could’ve only been done through animation - but throughout the story, you’ll see her muster up her courage once in a while and stand up to Howl, the fire demon Calcipher (Tatsuya Gashiun) who powers his home, or to Howl’s young apprentice Markl (Ryūnosuke Kamiki). Suddenly, she seems a little less old, a bit more confident. She’s less hunched over; tougher. Once she’s shared her piece, however, her progress stops or even reverses. Isn’t that what growing up is really like? Not a sudden metamorphosis from a caterpillar to a butterfly, but constant steps forward and backward with the steps back always growing slightly smaller until - before you know it - you’ve made real headway.

At points, the film is wonderfully grotesque - bordering on frightening - and will then revert to being the stuff of dreams. Character-wise, so much of Howl's Moving Castle is subtle that when the big emotional moments arrive, they sneak up on you and seemingly come out of nowhere… but then, it makes perfect sense for them to arrive at that precise moment. You know it because you know the people involved so well. Despite this, the love plot can feel a little rushed. That’s really the only criticism I have.

Viewers will place Howl’s Moving Castle into one of two camps. It will either be an instant favorite, like a number 1 movie because it tells this emotional, character-driven story with all of these themes hidden in the background, or it will be the kind of movie that you don’t realize how much you love until later when you’re looking back at it fondly. Either way, it’s enchanting - regardless of how old you are. (Original Japanese with English subtitles, July 27, 2022)

[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�� 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! 」

[byneddiedingo]

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

An Autumn Afternoon (1962) | dir. Yasujirō Ozu

[undiaungato]

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

[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)

[tsukuharuko]

legendreign​:

When Taiga was growing up in America, sometimes Alex would take him and Tatsuya out to restaurants on their birthdays and the restaurant staff always sang them the birthday song. The birthday song was a tradition was a reason!

Taiga couldn’t resist teasing the girl a bit as he smirked.

“Well, this is part of your job, isn’t it Tsukushima?”

Tsukushima was so awkward, it was kind of cute. He did feel a bit bad but he didn’t regret making her sing one bit. It was really nice to see the other customers give some loud cheers.

When she told him about a wish, he had a thoughtful look and thought to himself “What do I want to wish for this year?” Soon after, he wished to defeat the Generation of Miracles and become one of the best basketball players in Japan as he clasped his hands with his eyes closed before blowing out the candle.

The reason Masaru came into work early was because Saya’s 16th birthday was coming up in two days and he wanted to spend as much time with her until then.

“Oh Kagami, today’s your birthday? Guess I was late to join in the birthday song, I hope you have a good day today.”

“Uh, thanks Kato.”

“Haruko, prepare to get ready to leave.”

Masaru left then soon returned in his waiter outfit.

Haruko beamed at Masaru’s direction -- sounded like she was able to leave earlier that day, after all.

“Well, this is good news,” she grinned at Kagami’s directions. “I’ll go get changed, you enjoy your cake in the meantime.”

She went back to the staff room, and quickly changed into her daily clothes, putting the uniform in the small cabined she had been assigned. Before she left, however, she made a point to greet her mother and Otonashi-sama, and went to say goodbye to Masaru as well.

“Thank you for allowing me to end my shift earlier,” she said with a quick bow of her head. “My friend is spending her birthday alone and I thought it would be nice to keep him company.”

And with that, she nodded at Kagami, who was still enjoying his cake at the table.

“Do you know any fun places I could take him to?” She asked Masaru. “I want him to have a good time!”

[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]

[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.

[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

[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...

[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 Shintar��!

“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?”

[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…