#Kei Kurosawa

[ishido-enjoyer]

Takehiro Hira and Kei Kurosawa, via Kei Kurosawa’s Instagram.

[sterkeyra]

Voltage Chara Cafe Chibis 2024

Voltage once again claimed my heart by announcing the new merch for their upcoming character cafe. Weak as i am for chibis they just had to release animal hoodie acrylics of some of our best boys.

Kasumi tries to wriggle himself into my heart more and more by now also dressing up as a red panda! It almost feels like Kurosawa stole the penguin hoodie of him :D

Of course Tsugaru just had to have something bunny themed in the picture. Nomura has to watch out not to end up in Tsugaru's bunny merch collection at this point.

Kaga and Ishigami have their signature food and just had to have matching poses. Coincidence? xD

I wonder what the animals say about our characters. They are all so very adorable! It's difficult to decide!

Anyways, if you would like to buy some chibi merch too, @lydskisses organises a group order for the event. If you are curious just contact her ;)

Who is your favorite?

[offdensen]

[crappyheadcanons]

Straight demigirl flag source

[agustinrmichel]

Tribute poster for Kiyoshi Kurosawa’s ‘Cure’ (1997).

[rain13121]

A series of moment in which Rei has a tiny Hisoka in her life. (And a few after Hisoka's all grown up too)

It's found family season my dudes

[owarinaki]

Ossan's love Return EP3- Izumi & Kiku recap 1/4

EP3 PART1 // PART2 // PART3 // PART4

[waitmyturtles]

The whole show is just about building family, and all the bumps and joys along the way. 🥹

[cubedmango]

cherry magic is getting a musical adaptation! 🎶

+ commemorative art by toyota sensei 🍒

the musical will be performed in tokyo from april 11-20th 2025 at tokyo dome city hall, and in aichi from april 25-27th 2025 at ai plaza toyohashi

list of cast and crew (listed on the official website) below the cut!

adachi: ryo matsuda

kurosawa: yoshihiko aramaki

tsuge: daichi saeki

minato: satsuki nakayama

rokkaku: sho sakai

fujisaki: kaho takada

mari: yui hasegawa

asahina: naoya gomoto

ensemble: ito shuma, daiki iwama, okomura takuma, aoi shindo, kiya setokuchi, ryo tachibana, taiki hisakado

script and direction: keita kawajiri (sugarboy)

theme song: 「デモね。」 "demo ne", produced by agehasprings party

music: arai futoshi & miyajima jun

art: kei ishihara

choreography and staging: ebato & hakolog

lighting: ohata hideki

sound: sachie aikawa

video: kazuki watanabe

costumes: hiroko sogawa

hair and makeup: akenoko▲

vocal coach: junya yoshida

assistant directors: akihiro hashimoto & rina shiraha

stage director: tsubasa tanaka

promotional art: chutte

promotional photography: daisuke yamashita

production cooperation: andem

production: nelke planning

[cupcakeslushie]

I have a question and you might’ve been asked before, but animation, do you have any tips for beginners? Love your content btw 🥰

Even tho my degree is in animation I must be honest…😬 nowadays I very often don’t have the patience for anything more complicated than animatics. So I’m trying to stick to tried and true advice lol…

Probably the biggest tip would be that, yes the beginner exercises may be boring, and not look very cool, but they are essential to getting those skills you need down. The flour sack exercise, the wave principle—doing squash and stretch, and timing studies to really nail the way that movements should “flow” properly. These are absolutely necessary skills to master if you want to make fluid animations.

Planning is also another important, but sometimes overlooked aspect of animation. Some ppl (read:me) wanna just jump straight to animating. But planning in those first simplest stages really helps save you headaches in the later stages, when things are getting more complicated and all over the place. Storyboarding helps you plot your timing, choosing where key shots will go, camera angles, pacing ect.

And speaking of camera angles. STUDY STUDY STUDY cinematography! Something doesn’t have to be animated for it to be applied to animation. Perspective is a massive beast to tackle once you start storyboarding and unless you want boring shots and stagnant compositional framing, you need to learn all the ways you can frame a scene and your characters! Idk if you’re up for watching some horror movies, but those are a great source to pull from, as they tend to always frame, pace and even light their shots in really interesting and dynamic ways!

It’s also great to practice with free programs before you spend money on things like a subscription for photoshop or any other fancy software. Most interfaces are similar enough, that beginning with something free like Rough Animator or Blender can give you some good practice before you commit!

That’s all I can think of right now! And sorry if that wasn’t exactly what you were looking for…if you want me to try to give more specific advice on something just drop me another ask—I’m willing to keep rambling on!

Lastly, just few good videos I have saved!

Good traditional habits for digital animators <- basically Toniko Pantoja’s whole channel is a goldmine of knowledge!

Drawing figures in perspective

Every Frame A Painting is also a great channel for breaking down film/composition/writing—there’s a video for virtually every aspect of cinema

-Chuck Jones -the evolution of an artist

-Akira Kurosawa- composing movement

-Satoshi Kon- editing space and time

[le-trash-prince]

Ossan’s Love TH Ep 1 Thoughts

🥹🥹🥹🥺🥺🥺🥹🙌🥹💖💖✨✨✨🥺🥺🥺🥺🥺🥺🥺🥺🥹🥹🥹🥹🥹🥹🥹💖💖💖💖💖💖😻😻☺️🥰🌈

I think we all had a sinking feeling since the trailer that GMMTV was gonna nerf the most iconic line in the series, but it’s still a bummer 😔 RIP “won’t a big dick also do?” you’ll never be matched

Also regarding Chouko’s absence, I would like to state for the record that this is actually the third time she has not been present in an iteration of Ossan’s Love. In the original 2016 version, Kurosawa had been divorced for 10 years, and his wife was never shown onscreen, and in Ossan’s Love: In the Sky, Kurosawa was a widower with a daughter, much like Kongdech, which allowed them to tell a story about a father coming out of the closet to his daughter (who was also in love with Haruta because that’s how this series works). I do love Chouko, but OL is also constantly swapping characters in and out, so to me it’s par course and not a unique decision of GMMTV’s

Anyways I really enjoyed this first episode, and my expectations were high. I think they really captured the mix of silliness and heartwarming moments that makes Ossan’s Love Ossan’s Love to me.

I never get tired of puppydog coded characters and Heng was so 😭😭😭😭😭 Bisexual disaster boy of my heart. Earth really nailed it—he’s not Haruta, he’s not Tanaka Kei, but he’s Heng. Momo you need to leash train him already

Mix in glasses can we get more…

Heng went through the opposite of a glow-up and I love that for him

I was busting out laughing in about every scene which says a lot for a story I’ve seen four different iterations of.

I am curious about what familiar and what new storylines we’ll see but I’m gonna try my best not to spoil anything for those who are new to Ossan’s Love!

Anyways I might not be able to stay up to date with this on a weekly basis, since I’m watching this with my best friend so scheduling is sometimes up in the air, but! We have watched just about every Ossan’s Love release together (minus the HK vers which she skipped) since Jan 2017, and Ossan’s Love was the very first thing we ever watched together, so I’m 🥹 that we get another version with EarthMix, who we love so much.

[sterkeyra]

Koi 100 Chara Café -

Top13 2022 Costumes

Uwaah the new costumes for the upcoming Chara Café are looking gorgeous!!

For once Tsugarus outfit looks decent! I gotta say out of all the guys I like Kaiseis, Shins, Tsugarus, Kurosawa's and Okitas suits the most.

Which do you guys like the most?

[offdensen]

My only wish is for you both to be happy. That's all I need.

[maybe-boys-do-love]

“Why is dialogue so emotionally exaggerated in Japanese film?” one reddit user asked.

The response HarryMcFann gave is an incredible primer to understanding Japanese performance style and the media influenced by it (I’m looking at you, BLs and Kdramas).

“Not claiming to be an expert or have a definitive answer here, but these are my two cents based off of what I know about Japan and Japanese film. This is a very general overview. It’s important to note that culture is complex and full of nuances, but this should give a general understanding as to why Japanese films are somewhat exaggerated.

As u/scytheavatar pointed out, Japanese film is influenced by Japanese theater, but that doesn't fully answer your question. For example, you may ask about Western theater as it relates to Western films, and so on (Western theater is exagerated, but films today aren’t). So let’s look at Japanese theater.

The three main forms of Japanese theater are Kabuki, Noh, and Bunraku, and each of these forms influenced Japanese films in different ways. Now what is important to note here is that back in the early years of cinema, those in France and the rest of the West saw film as a new form of photography, while the Japanese viewed film as a new form of theater. Just think about that for a second, and what the implications are. Back in the late 19th and early 20th century the big thing about photography was it’s ability to capture realism, and that realism was a huge concern for many Western filmmakers. The famous French film critic, André Bazin, wrote extensively about how he believed the essence of cinema is its ability to reproduce reality (there were, of course, Western filmmakers who rejected this notion, such as the Soviet formalists and German expressionists, but going into that would require a lot more words). In Japan this was not the case, and from its inception, the Japanese rejected the Western idea of cinematic “realism.”

How did this manifest itself in early Japanese cinema? One thing the Japanese directly took from theater was the presence of a narrator. Japanese silent films were always accompanied by someone called a Benshi (fun fact, Kurosawa’s brother was a benshi), who would narrate the film. Japanese silent films would then have few intertitles, because the benshi would be there to explain the plot, and so on. What’s more, audiences would often attend a film based off of which benshi was performing. The benshi where local celebrities in many ways, and they would try to one-up one another. So naturally, to give a good show, the benshi would have to exaggerate in order to give more life to the performance (these guys would voice characters and play all the different roles). Directors would make their films knowing that there was going to a benshi present. So popular was the benshi, that much of the resistance to transitioning into talking films was from those lamenting the loss of the benshi narrators. Japan actually finally made the transition into talking films much later than the rest of the world.

It is also important to understand that “realism” is a relative term (cue some 15-year-old calling me pretentious). Yes, Western theater is also exaggerated and not particularly realistic, but traditional Western theater really doesn’t compare to Japanese theater. In fact, the famous German playwright, Bertolt Brecht, based many of his ideas of modernism in theater on traditional Japanese theater. This is why Ozu is seen as the most “traditional” of Japanese filmmakers while also being viewed as an early “modernist.” (It’s all really confusing and requires a bunch of quotation marks). Anyway, the Japanese don’t really have the 4th wall in theater the same way we do here in the West. In Japanese theater, audience interaction is huge, and stagehands (albeit often wearing black) walk freely on stage and move props and scenery around the actors, and so on. The key difference here between Japanese theater and Western theater is that while the West try to disguise and mask the artifice of the stage, the Japanese embraced it. A quick example of the way a Japanese actor performs in theater would be the Mie. The Mie is a powerful and emotional pose struck by an actor, who then freezes for a moment. This pose is more for the audience than the drama of the play, and often times reveals important information about that character. This idea of the artificiality of the performance in theater can also be seen in Japanese film.

Finally, it is worth noting how the Japanese view nature vs how the West does. In the West, we look at the natural as being something untouched by people. Interestingly, this isn’t really the case in Japan. In Japan there’s a belief that something only becomes “natural” when it has been in some way shaped by a person. Weird, right? To quote Donald Richie:

“To most Japanese, the Western idea of “realism,” particularly in its naturalistic phase, was something truly new. All early Japanese dramatic forms had assumed the necessity of a structure created through mediation. The same was true of Japanese culture in general: the wilderness was natural only after it had been shaped and presented in a palpable form, as in the Japanese garden, or flowers were considered living (ikebana) only after having been cut and arranged for viewing. Life was thus dramatically lifelike only after having been explained and commented on. Art and entertainment alike were presentational, that is they rendered a particular reality by way of an authoritative voice (be it the noh chorus or the benshi). This approach stood in marked contrast to the representational style of the West in which one assumed the reality of what was being shown.”

I want to make it clear that not all Japanese films are like this. If you watch films by a director like Hirokazu Koreeda, you will not see the same sort of exaggeration.”

[dear-indies]

please help me with suggestions for pretty Japanese models/instagramers to use for faceclaim 😥😥😥😥 thk u

SHIHO (1976) Japanese.

Karina / Nose Karina (1984) Japanese.

Angelica Michibata (1985) Japanese / Argentine.

Masuwaka tsubasa (1985) Japanese.

Okamoto Tao (1985) Japanese.

Watanabe Anne (1986) Japanese.

Elli-Rose (1986) Japanese / White

Nakamura Anne (1987) Japanese.

Kinoshita Yukina (1987) Japanese.

Oya Kana (1987) Japanese / Brazilian

Akimoto Kozue (1987) Japanese.

Eikura Nana (1988) Japanese.

Miygi Mai (1988) Japanese.

Izumi Rika (1988) Japanese.

Sasaki Nozomi (1988) Japanese.

Bianca Mitsuko / mitsuko._b (1989) Mexican, Japanese, African-American.

Shirahama Izumi / Loveli (1989) Japanese / Filipino.

Nakamura Risa (1989) Japanese.

Kiritani Mirei (1989) Japanese.

Konno Anna (1989) Japanese.

Fukushima Rila (1989) Japanese.

Kiko Arai (1990) Japanese.

Osamu / i_am_osamu (1990) Japanese.

Darenogare Akemi (1990) Japanese.

Nozaki Moeka (1990) Japanese.

Kishimoto Cecil (1990) Japanese.

Nakada Culumi (1991) Japanese.

Uchida Rio (1991) Japanese.

Sakura Moko (1991) Japanese.

Shinozaki Ai (1992) Japanese.

Mannami Yuka (1992) Japanese.

Gōriki Ayame (1992) Japanese.

Murata Rinko (1992) Japanese.

Arisue Mayuko (1992) Japanese.

Nishiuchi Mariya (1993) Japanese.

Tachibana Eri (1993) Japanese.

Yamamoto Sayaka (1993) Japanese.

Nozaki Tomoko (1993) Japanese.

Nōnen Rena (1993) Japanese.

Araki Yuko (1993) Japanese.

Takeda Rena (1993) Japanese.

Takei Emi (1993) Japanese.

Sano Hinako (1994) Japanese.

Nakada Minori (1994) Japanese.

Baba Fumika (1995) Japanese.

Jessica Spohr (1995) Japanese.

Sakuma Yui (1995) Japanese.

Aimaru / aaaaaichan_1 (1996) Japanese.

Aqua Parios (1996) African-American / Japanese.

Komatsu Nana (1996) Japanese.

Yumi Nu (1996) Japanese / White.

Yamazaki Ami (1997) Japanese.

Nakajo Ayami (1997) Japanese.

Imada Mio (1997) Japanese.

Natalie Nootenboom (1997) Japanese / White.

Hitomi Mochizuki (1997) Japanese / Venezuelan - is bisexual.

UraN / luv02_uran (1997) Japanese.

Yahagi Honoka (1997) Japanese.

Yamamoto Maika (1997) Japanese.

maguro149.5cm (1997) Japanese.

Serena Motola (1998) Japanese / White.

Okamoto Natsumi (1998) Japanese.

Iitoyo Marie (1998) Japanese.

Rina Fukushi (1999) Japanese / Filipino.

Minami Gessel (1999) Japanese / Ashkenazi Jewish - has spoken up for Palestine!

Kaori Oinuma (2000) Filipino and Japanese.

Kei Kurosawa (2001) Bisaya Filipino and Japanese - is mainly an actress but is too pretty not to put on here - has spoken up for Palestine!

Satō Kayo (?) Japanese - is trans.

Michiko Ohashi (?) Japanese.

Emix Momoka (?) Japanese.

Oto / Otoayabe (?) Japanese

+ I'm sure thre's also more on @japanesefcs pages!

Hope this helps!