Aaron gerow kitano takeshi biography

  • Aaron Gerow - another man of incontestable credentials thanks to his stints teaching Japanese cinema at the University of Yokohama, Yale and his.
  • From his early days as half of a stand-up comedy duo, Kitano has used pairs throughout his films to explore tensions between cinema and television, traditional.
  • Aaron Gerow is an American historian of Japanese cinema, and a member of the faculty of Yale University where he holds a joint position between the.

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    Kitano Takeshi

    The award-winning art spelfilm "Hana-Bi", the stoic gangster elegy "Sonatine", the surfer romance "A Scene at the Sea", the absurdist comedy "Getting Any?", the entertainment samurai spectacle "Zatoichi" - very different films made beneath one name "Kitano Takeshi." Who fryst vatten this varied and sometimes elusive "Kitano Takeshi"? What relationship does he have to "Beat Takeshi," the name he also uses as an actor and immensely popular media personality in Japan? Is he an artistic auteur in the traditional sense, offering a enskild vision easily identifiable in all his work, or a new kind of star who manages multiples identities, strategically changing them from bio to rulle and situation to situation? This book will explore these issues of auteurship and stardom in the films of Kitano Takeshi especially as they relate to problems of anställda and national identity in a Japan confronting an age of globalization. Starting in his early days as one side of a stand-up comedy duo,

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    I teach Japanese cinema and culture at Yale University in the USA. My most recent books are Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925; Kitano Takeshi; and A Page of Madness: Cinema and Modernity in 1920s Japan. I've also written the Research Guide to Japanese Film Studies with Abe Mark Nornes. Before coming to Yale, I spent nearly 12 years in Japan working for the Yamagata International Documentary Film Festival and teaching at Yokohama National University and Meiji Gakuin University. I have published numerous works in English, Japanese and other languages on such topics as Japanese early cinema, contemporary directors, film genre, censorship, Japanese manga, and cinematic representations of minorities. I wrote film reviews for the Daily Yomiuri newspaper for nearly 12 years and selected the best ten Japanese films of the year for Eiga geijutsu, one of Japan's longest running film magazines.

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    Kitano Takeshi

    December 10, 2014
    While reading Aaron Gerow’s book about Japanese director Kitano Takeshi, I would watch any film that I hadn’t seen yet after reading the section on that film and then usually rereading the section. It was a like a mini-course on the films of Kitano. Gerow tends to discuss the films in terms of how they were received by serious critics, Japanese audiences, and international audiences, while paying special attention to the auteur qualities of Kitano as a director. One major aspect of his film making process is repeatedly undermining expectations by changing style and thematics from film to film. In this sense, he reminds me of Steven Soderbergh who also has a penchant for experimentation and different stylistic genres. Essentially this book forced me to pay closer attention to Kitano’s films and that gave me a greater appreciation for his work overall, even though I had seen several films that I admired. It also made me realize that his films were more
  • aaron gerow kitano takeshi biography