#Toshiko Saito

[magma1000]

FINAL ROUND!!!

No. 16 from class 1-C, Shi Eto, 17, male, Quirk: Turret

Eto can transform the barrel of a turret on both arms from the forearm down. (He uses his hair as bullets)

No. 16 from class 1-D, Takako Miura, 16, female, Quirk: Garden

Miura has the ability to grow and manipulate plants at her will

No. 17 from class 1-C, Blonde Midoriya  Tokai Tanaka, 15, male, Quirk: Catastrophe

If he touches something with all five fingers, it will begin to crack and crumble (it won’t disintegrate like Shiggy’s quirk, it only breaks) Tanaka can’t undo what he breaks

No. 17 from class 1-D, Takane Kikuchi, 15, female, Quirk: Giant

Takane’s quirk allows her to become a huge, angry and indestructible giant fro as long as she’s angry.

No. 18 from class 1-C, Yuki Naito, 17, Demi-boy, Quirk: Jack Frost

Naito can control and produce snow, hail, and ice. Although, his body doesn’t handle it well…

No. 18 from class 1-D, Toshiko Saito, 16, demi-boy, Quirk: Shooting Star

Saito can run as fast as a shooting star! He also bursts into flames when he activates his quirk. He hits hard and runs fast 🏃🏾

No. 19 from class 1-C, Yumiko Sakai, 15, male, Quirk: Arrow

Sakai can produce arrows from the little compartment on his right wrist, and manipulate its path as long as it’s airborne

No. 19 from class 1-D, Ume Matsuri, 15, male, Quirk: blood formation 

Matsuri can manipulate their blood into different shapes, and harden it so it stays in that shape. (It can be as fragile as plastic or glass tho)

No. 20 from class 1-C, Yuuki Higashi, 16, female, Quirk: Dragon

Higashi can do anything a dragon can do.

No. 20 from class 1-D, Yasu Fujiwara, 17, female??, Quirk: Reptilian 

Fujiwara can harness at most three traits from any kind of reptile!

[byneddiedingo]

Kyoko Kagawa in Mother (Mikio Naruse, 1952) Cast: Kinuyo Tanaka, Kyoko Kagawa, Eiji Okada, Masao Mishima, Akihiko Katayama, Keiko Enami, Daisuke Kato, Takashi Ito, Chieko Nakakita. Screenplay: Yoko Mizuki. Cinematography: Hiroshi Suzuki. Music: Ichiro Saito Mutatis mutandis, Mikio Naruse's Mother could almost have been a 1950s Hollywood family drama starring Irene Dunne or Myrna Loy in the title role: a woman struggling to help her family survive difficult times. Of course, the necessary change would be that of setting: Mother is very much a portrait of lower middle class Japan in the immediate postwar years. Masako Fukuhara (Kinuyo Tanaka) is not just trying to feed her family but also struggling with the effects of the war, including disease -- the death of her only son from tuberculosis -- and crippling loss -- she and her husband, Ryosuke (Masao Mishima), take in her sister Noriko's little boy, Tetsuo (Takashi Ito), after Noriko (Chieko Nakakita) returns from Manchuria, where her husband was killed. Masako's struggle gets worse after Ryosuke works himself to death reestablishing the family's laundry business. Fortunately, there is Uncle Kimura (Daisuke Kato), who had been a prisoner of war in Russia, to help out in the laundry, but Masako still has to raise her teenage daughter, Toshiko (Kyoko Kagawa), as well as her younger daughter, Hisako, called Chako (Keiko Enami). What links Mother to the Hollywood films is some sentimental melodrama, a characteristic not usually ascribed to Naruse's work, and some rather conventional comic relief, such as the scene in which Toshiko's boyfriend, Shinjiro (Eiji Okada), sees her dressed as a bride and thinks she's marrying someone else, when in fact she's modeling for Noriko, who is trying to make it as a hair stylist. Fortunately, Naruse knows how to work against sentimentality and convention with some distancing tricks. In mid-film we are suddenly presented with a title card that says "The End" in Japanese -- a moment that actually made me reach for the remote to see if the screening service had somehow skipped to the end. It turns out to be the end title for a movie that Toshiko and her friends have gone to see -- a weepie that has left them in the tears guaranteed by its advertising. It also helps that Mother has the extraordinary Tanaka and Kagawa playing mother and daughter -- a relationship they would repeat in Kenji Mizoguchi's Sansho the Bailiff (1954). It's also interesting to see Okada as Shinjiro, one of his early performances, before he achieved international fame in Hiroshima Mon Amour (Alain Resnais, 1959) and Woman in the Dunes (Hiroshi Teshigahara, 1964).

[straycatboogie]

2023/07/14 English

BGM: 高野寛 - BLUE PERIOD

Today I worked late. This morning I went to the library to borrow Toshiko Watanabe's book about poetry. I was thinking that I would like to borrow Junzaburo Nishiwaki's poem collection, but I saw that there was a book "Poetry Dogs" by Rin Saito on the bookshelf. This title said that it was an interesting one about poetry, so I decided to borrow that. After that, I went to the food court at AEON and tried to find free time to write another sonnet. Suddenly, I thought I would like to write down this poem in a notebook. So I went to the stationary corner to buy a notebook, and decided to write mine in that. Indeed, all I have been writing are just "studies". But I might be able to write a masterpiece. I want to enjoy every day's tiny growth steadily, and also think that now is the "blue period" in my life. In a LINE group, a friend asked me that "How do you find the books to read?". TBH, although I try to reserve the books to read, I often meet the books I want to read by chance. So when I go to the library, I try to think what I will read too seriously. Take it easy. I carry an empty head to there (and also an empty bag).

After that, I read the rest of the Haruki Murakami's "What I Talk About When I Talk About Running". TBH I had treated this book too lightly because I was thinking that this one must be a light essay about jogging/running. But, the more I read, the more I started thinking that this was an important work of him. Yes, it is a diligent memoir, and also the book about his life and philosophy through running itself. Suddenly I thought that Haruki is also an autistic guy, or at least he has a little bit autistic character. Indeed, this might be too rude for him because I am not a doctor. I have never met him so I can't judge that. I am just a idiot reader. But his strict/serious attitude, his strong style tells me that kind of unique character. It leads me to "Everyone can have autistic character" and "Neurotypical people and autistic people are connected on a gradation". Everyone is on a gradation (so we have to consider the problems as ours, not theirs).

But, this is just a speculation. Haruki writes about jogging like this. He always have struggles with the emotion of "I don't want to run anymore" and "I want to stay lazy". But he wins every day against that laziness. He never chooses to walk, just keeps on running. I remember when I was a high school student. At that time, Haruki was already a hero/charisma for me, but I also thought that "Should we train our body/vitality in such a tough way?". I adored to be a holy junkie like Charles Bukowski. I wished that I would got a message from God or Muse, and could write a masterpiece. Now I am thinking if I should try to train myself. How about enjoying walking? Training my body, and living honestly. Of course, the message from heaven wouldn't come to me. It might be an impossible dream. I can't control. But it is an issue of my control to train myself.

This evening, at the break time I rewrote the poem I had written in this morning. My work would work as a "cooling time", so I thought "it is crap" and "I want to make this more rhythmical" by reading it again. I do making it tighter as Haruki does. I drive its screws... Through rewriting it, I can find it becomes greater. Indeed, as I already wrote, all I am writing is just studies. If I keep on writing more and more, they could be the one like my "Howl" (Allen Ginsberg. Of course, they might end as just crap). Can the ones I write be popular? They become money? It is beyond my ability. I choose writing more, and do effort to tighten. It belongs to my will, my effort. I believe so. I quit drinking, try to reading, write my journal and poems following Haruki who works through jogging and writing. I want to go higher little by little like Haruki... Of course, there are many reasons not to write. But I write, even though I can't explain why.

After The Corona Panic

After the corona panic, I start shaving again I cut my face a little even though it has no pain It's a sunny day, and weather report says it won't rain There's no purpose to do, just hanging around is the main

Can you see? We've got an ordinary life like this We've got the right to enjoy! Hey bro and sis The day we can get rid of our masks to kiss I guess now is the chance you shouldn't miss

I can't remember when I bought the first mask How I can describe that? A duty or a task? We didn't decide it by laws, They just did ask...

But those are the past. Follow the Buddhism Everything flows, like waves. It has a rhythm Celebrate the days with cheerful lyricism

[smilingperformer]

Episodes for March and April 5th have now been translated by Dephender!

March 15th: NS017 - Hibanny, Use Your Flaming Kick! Face Tomorrow!!

Satoshi and Go are practicing battling in the Sakuragi Park. But then Hihidaruma comes over, provoking Go and Hibanny, the Pokémon he has partnered with, by suggesting they should try using a Fire type move. Hibanny tries Ember, but it's not able to use the move very well and just ends up getting made fun of by Hihidaruma. An annoyed Hibanny starts working hard on practicing this move, which Go thinks is pointless since Hibanny can battle just fine using its other moves. And before they know it, these contrasting mindsets result in the two starting to fight. Screenplay 赤尾でこ (Deko Akao)   Storyboard 齋藤徳明 (Noriaki Saito)   Episode Director 上野史博 (Fumihiro Ueno)   Animation Director 篠原隆 (Takashi Shinohara)

March 22nd: NS018 - Satoshi's Dream Fight! The Pokémon World Championships!!

Satoshi's goal is to battle Dande, the best Pokémon Trainer in the world, so he's decided to challenge the "Pokémon World Championships". His opponent in his memorable first battle is Pisces, an Electric type Trainer and the acting Gym Leader of the Kuchiba Gym while its Gym Leader Matis is absent. The 2 on 2 battle starts with a fight between Pisces' Raichu and Satoshi's Pikachu. How will this battle go? Screenplay 冨岡淳広 (Atsuhiro Tomioka)   Storyboard 浅田裕二 (Yūji Asada)   Episode Director 浅田裕二 (Yūji Asada)   Animation Director 岩根雅明 (Masaaki Iwane)   Animation Director 志村泉 (Izumi Shimura)

March 29th: NS019 - I Am Metamon!

The Rocket Gang have gone to a movie studio in order to promote the actress Musashi. There, they encounter a Metamon who's fallen into a slump after angering a director due to not being able to transform very well. The Metamon ends up running away from the studio and slipping into Musashi's bag without her noticing, ultimately ending up at the Rocket Gang's hideout. Musashi declares she's going to discipline Metamon into becoming a skilled actress. Meanwhile, Satoshi and Go have been searching for the missing Metamon. Screenplay 宮田由佳 (Yuka Miyata)   Storyboard 尼野浩正 (Hiromasa Amano)   Episode Director 村田尚樹 (Naoki Murata)   Animation Director 酒井裕未 (Hiromi Sakai)   Animation Director 高木麻穂 (Maho Takagi)   Animation Director 新岡浩美 (Hiromi Niioka)   Animation Director 野村美妃 (Miki Nomura)

April 5th: NS020 - Go Towards Your Dream! Satoshi and Go!!

Satoshi and Go have been chosen to lead a Pokémon Orienteering event at the Sakuragi Laboratories. And as they of them get exposed to how fun it is to battle and get Pokémon alongside the children participating in the event, the duo once again reaffirm their unfulfilled "dreams". And then, believe it or not, Lugia appears......?! Screenplay 米村正二 (Shōji Yonemura)   Storyboard 齋藤徳明 (Noriaki Saito)   Episode Director 小柴純弥 (Junya Koshiba)   Animation Director 矢田木瀧 (Taki Yatagi)   Animation Director 高橋優 (Yuh Takahashi)   Animation Director 広岡歳仁 (Toshihito Hirooka)   Animation Director 中矢利子 (Toshiko Nakaya)   Animation Director 海老沢咲希 (Saki Ebisawa)   Animation Director 中野悟史 (Satoshi Nakano)   Animation Director 武内啓 (Akira Takeuchi)

Source link in the source tag!

[shokoraa]

Shokugeki no Sōma: Nashi Saito de Chīfu

Shokugeki no Sōma: Nashi Saito de Chīfu

FFN: Shokugeki no Sōma: Nashi Saito de Chīfu by Gale-Dragon

By: GaleDragon

Summary: Ever since he picked up a kitchen knife at age three, Sōma knew he wanted to be a chef. For twelve years, he cooked in the kitchen of his family diner. But he doesn't cook like you or me. No, he has his own cooking style, and that style will change the world of cooking forever. After all, Sōma's blind.

Status: Incomplete  Updated: Dec. 6, 2021

Words: 190,844  Chapters: 18/??  Language: English

Fandom:食戟のソーマ | Food Wars! Shokugeki no Soma, 十二大戦 - 西尾維新 | Juni Taisen - Nisio Isin

Rating: Teen And Up Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Category: Other

Characters: Yukihira Souma, Yukihira Jouichirou | Saiba Jouichirou, Kurase Mayumi, Nakiri Erina, Nakiri Alice, Nakiri Senzaemon, Tadokoro Megumi, Takumi Aldini, Isami Aldini, Mito Ikumi, Elite 10, Arato Hisako, Kurokiba Ryou, Sakaki Ryouko, Hayama Akira, Shiomi Jun, Roland Chapelle, Original Characters, Kinokuni Nene, Nene Kinokuni, Tsukasa Eishi, Kobayashi Rindou, Akanegakubo Momo, Polar Star Dormitory Residents, Eizan Etsuya, Isshiki Satoshi, Saitou Soumei, Other Character Tags to Be Added, Ushii | Kashii Eiji, Usagi (Juni Taisen), Duodecouple (Juni Taisen), Nezumi | Sumino Tsugiyoshi, Sharyū | Yūki Misaki, Inounoshishi | Inō Toshiko, Tatsumi Kyoudai Ani | Tsumita Nagayuki, Tatsumi Kyoudai Otouto | Tsumita Takeyasu, Uuma | Souma Yoshimi, Hitsujii | Tsujiie Sumihiko, Niwatori | Niwa Ryouka, Tora | Aira Kanae, Dotsuku | Tsukui Michio

Relationship: None

Additional Tag: Elite 10 - Freeform, Blind Character, Blind Chef, Souma knows about his Dad's past, Elite 10 Work at a Diner, Bullying, Disabled Character, Disable doesn't mean unable, Other Additional Tags to Be Added, Original Character(s), Crossover characters - Freeform

[gotojobin]

#HowNOToSummonADemonLord #世界魔王と召喚少女の奴隷魔術 #IsekaiMaōToShōkanShōjoNoDoreiMajuts #TheOtherWorldDemonLordAndTheSummoningGirlsSlaveMagic #KingDevinJoseph #キングデビンジョセフ #おたく #Otaku #オタク #GotoJobin #後藤Jobin #デヴィンジョセフ王 #Weeb #WeebDar #王デヴィンジョセフ 1. Episode 5 The National Knight Greenwood Kingdom, which has requested the transfer of Princess Shera to the city of Faltra. In the case of refusal, it will be the start of the war, Diavro meets with the lord of the city of Faltra, Garford, and receives quests to prevent war. The national knight Alicia, dispatched from the royal capital, will also join, A party to procure equipment and tools in the city. However, the danger comes to Shera who has won the prize .... Screenplay: Brush writing 1 Ko Storyboard: Ryo Takahashi Production: Toshiaki Kamihara Artistic director: Masakazu Saito. 2. Episode 5 National Knight The Kingdom of Greenwood has requested the delivery of princess Shera to the city of Faltra. In the case of refusal, the situation that becomes the war, Diavro meets The Lord Of Falflo and receives a quest to prevent war. Alicia, a national knight dispatched from King's Landing, also joined, A party to procure equipment and tools in the city. However, the danger approaches Shera who was given the prize money. Screenwriter: Kazuyuki Brush Storyboard: Toru Takahashi Director: Toshiko Kamihara Animation Director: Masakazu Saito. https://www.instagram.com/p/B0M6YfcHrvGc3eDi8dpbhgCX2vbUVsgV-amBAw0/?igshid=1uvcqpvsfqurg

[jpf-sydney]

ICT Nihongo kyōiku

New item:

Shelf: 810.72 ICT ICT Nihongo kyōiku : jōhō tsūshin gijutsu o riyōshita Nihongo kyōiku no riron to jissen = ICT x Japanese language education : theory and practice.  supervised by Tohsaku, Yasu-Hiko ; edited by Lee, Jae-ho. Tōkyō : Hitsuji Shobō, 2019. ix, 289 pagers : illustrations ; 21 cm. (Includes bibliographical references and index). Text in Japanese. ISBN: 978-4-89476-944-1

Table of contents:

Nettowāku jidai no gengo kyōiku gengo gakushū / Tōsaku Yasuhiko.

Nihongo bunpō ninchi shindan web tesuto / Shimada Megumi, Son En, Yabe Hiroko, Toyota Tetsuya.

Gakushūsha sakubun no shūjukudo ni kansuru jidō hantei to web shisutemu no kaihatsu ni tuite / Ri Jeho, Hasebe Yōichirō, Murata Yumiko.

CEFR dokkai shihyō ni motozuku Nihongo reibun bunrui shuhō / Miyazaki Yoshinori, Hirakawa Ryōta, Takada Hiroki, Tani Seiji.

Skype ni yoru enkaku sesshon o toriireta jissen : deep active learning no shiten kara / Mōri Takami.

AI chūta no jitsugen ni mukete : goyōrei kōpasu dēta no kōchiku to goyōbun shūsei chishiki no shūtoku / Aikawa Takako, Takahashi Tetsurō.

Hanten jugyō o ishikishita kyōzai kaihatsu no tame no jissen jugyō / Ishizaki Toshiko.

Intānetto o katsuyōshita ibunkakan komyunikēshon nōryoku ikusei o mezashita Nihongo gakushū katsudō / Shō Deguchi Kaori.

Dejitaru sutōrīteringu (DST) o mochiita katsudō no kanōsei : tayō na Nihongo kyōiku no genba kara / Hanzawa Chiemi, Yame Mayumi, Higuchi Makiko, Katō Mahoko, Ikeda Keiko, Suma Shūichi.

To combine knowledge and the real world : kakuchō genjitsu o riyō shita Nihongo gakushū no kokoromi / Yonemoto Kazuhiro.

Kōdō chūshin apurōchi ni motozuita Yōroppa ni okeru Nihongo onrain tesuto no kaihatsu / Higashi Tomoko, Shirota Chieko.

Kanjiryoku shindan tesuto ni yoru Nihongoryoku no hyōka / Kanō Chieko, Gina.

Mēru sakusei tasuku o mochiita sakubun shien shisutemu / Kneniwa Kumiko, Kawamura Yoshiko, Hashimoto Naoyuki, Kobayashi Hidekazu.

Keizokuteki ōraru asesumento no kaihatsu : "hanaseru" o jikkansuru hyōkahō o mezashite / Miyamoto Mayū, Fukada Atsushi.

Kan-Etsugo dētabēsu o katsuyōshita onsei ninshiki ni yoru kango gakushū apuri no kaihatsu / Kurosu Naomi, Yamasaki Megumi.

Keizokuteki na gakushū ni tsunageru Nihongo gakushū saito : "Hirogaru motto ironna Nihon to Nihongo" / Itō Hideaki, Ishii Yōko, Maeda Sumiko.

Marugoto Nihongo onrain kōsu no kaihatsu to un'yō : jigaku jishū o keizokusaseru tame no kufū to wa / Takeda Motoko, Kumano Nanae, Chiba Tomomi, Hiyama Haruki.

Kimochi o tsutaeru onsei no web kyōzai "Tsutaeru hatsuon" / Kinoshita Naoko, Nakagawa Chieko.

Fluency calculator ni yoru kōtō ryūchōsei kyakushi shihyō no sanshutsu to sore o mochiita ryūchōsei no jūdanteki kenkyū / Matsumoto Kazumi, Hirotani Maki, Fukada Atsushi.

[saitoblush]

Hakuoki guys ranking

Ranking (for now):

1. Hijikata Toshiko: so great. So noble. Is a mature, fearsome, responsible, empathetic, heroic, determined, tender and caring man. I didn’t like him at first because he scared me but I really warmed up to him later on. Every time I see him in other routes I just wanna run up to him and give him a hug because I know how he’s under so much pressure without anyone to share it with. He’s the one who carries the most responsibilities and the most pain. He tugs at my heart string no matter whose route I’m on.

2. Kazama Chikage: my endearing, tsundere, patient, powerful, respectful and cynical husband. He’s bitter and cynical about humanity but changes his mind after being proven wrong. He’s a shoulder to lean on and is always reliable and follows me to the end of the world just to fulfill my wish. He’s cold and abrasive to others but is gentle, loving and passionate to me. The human embodiment of a cat.

3. Okita Souji: another one with a sharp 👅, he’s sarcastic, quick witted and likes to tease me, but has a wall around his heart that is so tricky to navigate through. But once I’m through he’s so loving and dedicated to helping me, and is the most touchy one so far.

4. Saito Hajime: my cute snow 🐰, demure, resilient, mature, emotionally stable, sharp and gentle. Total husband material. He’s always reflecting on his life and is ready to take whatever life throws at him. I can already tell life with him will be the most peaceful and happy anyone will ever have.

5. Heisuke Toudou: like Saito he hasn’t lost his innocence and wonder about the world, but can be a little whiny at times. I forgive him for being a teenager.

[showa-no-yakara]

明けましておめでとうございます。 本年も昭和の輩サポート宜しくお願いします！ さて、2018年1発目！ 昭和の輩 新年祭@三茶梅ちゃんバー 1/13(Sat) Start:22:00～ Charge :￥2,000(1drink/SERUおかんのお餅 食べ放題♪) 毎年、年明け恒例の『昭和の輩 新年祭』 （SERUおかんのお餅を振る舞う会）を開催致します。 豪華な方々が昭和の輩に集結♪ 新年の挨拶を一度にできちゃうかもw！ さて、今回の新年一発目のSpecial　Live（投げ銭）は ★マーレーズ★ 久しぶりに★マーレーズ★が帰ってきます！ 楽しみですね～♪ そして、今回も昭和の輩にお馴染みのSelectorや 日ごろお世話になっているSelectorの皆様をお招きし、 それぞれ新年早々の入魂の5曲をPlay！ これまた、みなさん何をかけるか気になるところですね～♪ そして、VJに『sarunotuku』が入ります！ どんな光の世界を作るか楽しみです！ お餅は磯部焼き SERUおかんのついたお餅を味わってくださいませ！ 都会暮らしの人はなかなか食べれませんよ～♪ 2018年も昭和の輩をどうぞよろしくお願い致します！ 是非、気軽にお越しくださいませ♪ 出演者について詳しくは、以下をご確認くださいませ！ -------------------------------------------------------- ★Special Live★（投げ銭） ★マーレーズ★ ★ツワモノ揃いの5 music selector's★ Bang! (Winstons) Carlos Coughoo (relax) Yudai (Sula) Holy (32016) Suger-T (SugarBar) IWA-T (Glocal Skandal) grv (r.u.d.e./Rudeboy fellow) Matsu (r.u.d.e./Rudeboy fellow) T.Seki (Sounds Of Blackness) Nabe-Chang Jamdiabro (青山蜂) Ita (Nat Records/Underground PunkRockVinylArchives1976-1985) Jaga-be (Reggaelation independence・Soul Dimention) Dj Shigeki (TIGHT) Saito-X Dj Tsu (Kiten) LB3 (ShantyTown) RAS-KEIZO (TRIBE WORKS) Shiki Taichi master Dj Kut (TonicShow/ELDUST) Machi (MEGA MUNCH OYSTERS) Hide-Low (昭和の輩/ 宙ぶらりんDegi.Cus.) SERU (昭和の輩/ 宙ぶらりんDegi.Cus.) MikeyBun (昭和の輩/ 宙ぶらりんDegi.Cus.) Full-B (昭和の輩) Akr a.k.a. Show-killa (昭和の輩) etc・・・ ★VJ★ sarunotuku 御餅提供 Toshiko Matsuzaki 御餅ガール 現在、募集中～♪ #昭和の輩

[byneddiedingo]

Tokihiko Okada in The Lady and the Beard (Yasujiro Ozu, 1931)

Cast: Tokihiko Okada. Hiroko Kawasaki, Satoko Date, Choko Iida, Ichiro Tsukida, Toshiko Iizuka, Mitsuko Yoshikawa, Tatsuo Saito, Takeshi Sakamoto, Sotaro Okada, Yasuo Nanjo, Ayako Katsuragi. Screenplay: Komatsu Kitamur, Yasujiro Ozu. Cinematography: Minoru Kuribayashi, Hideo Shigehara. Film editing: Minoru Kuribayaski, Hideo Shigehara. 

The Lady and the Beard is one of Yasujiro Ozu's silent comedies that, like I Graduated, But... (1929), I Flunked, But ... (1930), and Where Now Are the Dreams of Youth? (1932), center on college students and their postgraduate life. The protagonist, Kiichi (Tokhiko Okada), affects a full beard and old-fashioned dress, which his fellow students tolerate laughingly, but which opens him to mockery when he goes home with a friend who invites him to his sister's birthday party. The young women at the party shun him. Worse, when he graduates, he discovers that the beard is an obstacle to getting a job. So he shaves it off, and suddenly finds that he's not only employable but also a magnet to marriageable young women. He rescues Hiroko (Hiroko Kawasaki) from being mugged by Furyo (Satoko Date) and her thuggish companions, and winds up attracting the attention of both women. Later, he encounters Furyo again at the hotel where he works: He thwarts her in a con job involving a piece of jewelry, but that doesn't deter her interest in him. It's a likable little comedy with an endearing performance by Okada. I occasionally had trouble following some of the narrative, whether because of cultural differences or missing footage -- the print shows signs of damage. As often with Ozu's early films, he shows his inspiration in the form of movie posters on the characters' walls: Kiichi's room has a poster of a Laurel and Hardy movie. Ozu credits himself, under his pseudonym James Maki, as the film's gag writer. 

[jculture-en]

Are Medical Human Resources Related to Longer Life in Japan?

#Figureskate #KazumiOnishi [docplayer.net]Masaharu Yamamoto 1, Yasuo Tsuchiya 2, Toshiko Saito 1, Hideaki Onishi 1, Tomoo Makiguchi 3 and Hideaki E … FINANCE AND HEALTH CARE SOPHOAT UY 1, HIDECHIKA AKASHI 2, KAZUMI TAKI 3 and KATSUKI ITO 4 1 Human Resources Maloney 1 Does it Pay to Attend …

[figureskate-en]

Are Medical Human Resources Related to Longer Life in Japan?

#Figureskate #KazumiOnishi [docplayer.net]Masaharu Yamamoto 1, Yasuo Tsuchiya 2, Toshiko Saito 1, Hideaki Onishi 1, Tomoo Makiguchi 3 and Hideaki E ... FINANCE AND HEALTH CARE SOPHOAT UY 1, HIDECHIKA AKASHI 2, KAZUMI TAKI 3 and KATSUKI ITO 4 1 Human Resources Maloney 1 Does it Pay to Attend ...

[bowties-and-souffles]

HOLY CRAPZILLA

I TOTALLY FORGET SLASH DIDN'T REALLY REALIZE TIL NOW THAT TOSH WAS IN "ALIENS OF LONDON" HOLY MOTHER OF TORCHWOOD BATMAN.

[byneddiedingo]

Yoshiko Okada in No Blood Relation (Mikio Naruse, 1932) Cast: Yoshiko Okada, Yukiko Tsukuba, Toshiko Kojima, Shin'yo Nara, Fumiko Katsuragi, Joji Oka, Ichiro Yuki, Shozaburo Abe, Tomio Aoki. Screenplay: Kogo Noda, based on a novel by Shunyo Yanagawa. Cinematography: Eijiro Fujita, Suketaro Inokai, Masao Saito.  Before it settles down to become an intense domestic drama, No Blood Relation begins with a sequence of comic action: Gen (Shozaburo Abe), a goofy-looking purse-snatcher, is being chased through the streets until he collides with a man who holds him until the crowd catches up. Forced to strip, Gen reveals that he doesn't have the purse on him, and the cops send him away with his pants falling down around his ankles. But the man who caught him is actually an accomplice, Keiji (Ichiro Yuki), who hid the purse on himself when they collided. Keiji is the brother of a big Hollywood movie star, Tamae (Yoshiko Okada), who is returning that day to Japan for the first time in years, and Keiji and Gen see their chance for the big time as flunkies for Tamae. Her reason for returning home is to reclaim her daughter, Shigeko (Toshiko Kojima), whom she abandoned shortly after her birth. Her husband, Shunsaku (Shin'yo Nara), remarried, and his new wife, Masako (Yukiko Tsukuba), has proved to be a devoted mother to the little girl. Unfortunately, Shunsaku's business is about to go under, owing to his bad management and some shady deals that get him sent to prison. His mother, Kishiyo (Fumiko Katsuragi), is bitter about not only his business failure but also because this means they'll have to move out of their big house into a poor neighborhood. So when Tamae comes in search of her child, Kishiyo takes her side against Masako, leading to an intense battle between the birth mother and the one who is ... well, that's the point of the title. Masako fortunately has a defender, Masaya Kusakabe, whose relationship to the family is enigmatic: He's just returned from Manchuria, and since he's played by the handsome Joji Oka -- a sharp contrast to the plain and dour Shunsaku -- we begin to suspect that there's more to his relationship with Masako than meets the eye, though that part of the plot never pans out. No Blood Relation is a very effective tearjerker, with Naruse's characteristically hyperactive camera panning and dollying and zooming in to provide emphasis at key moments, and it shows Naruse's mastery of silent filmmaking, carrying the story without an overabundance of intertitles.