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Kitano Takeshi
Combining a detailed account of the situation in Japanese film and criticism with unique close analyses of Kitano's films from Violent Cop to Takeshis, the author relates the director to issues of contemporary cinema, Japanese national identity, and globalism.
The Cinema of Takeshi Kitano
The Cinema of Takeshi Kitano: Flowering Blood is a detailed aesthetic, Deleuzian, and phenomenological exploration of Japan’s finest currently-working film director, performer, and celebrity. The volume uniquely explores Kitano’s oeuvre through the tropes of stillness and movement, becoming animal, melancholy and loss, intensity, schizophrenia, and radical alterity; and through the aesthetic temperatures of color, light, camera movement, performance and urban and oceanic space. In this highly original monograph, all of Kitano’s films are given due consideration, including A Scene at the Sea (1991), Sonatine (1993), Dolls (2002), and Outrage (2010).
Beat Takeshi Vs. Takeshi Kitano
Called "the world's most original action auteur" by the Village Voice, world-renowned Japanese filmmaker Takeshi Kitano is an enormously popular figure in his own country, not only for his films but for his legendary alter ego, comedian Beat Takeshi. The U.S. release this summer of his latest film, Kikujiro -- an official selection at Cannes 1999 -- will add to the recognition he gained here with Fireworks two years ago, and expose an even larger audience to the stylish noir aesthetic previously lauded by such directors as Martin Scorcese and Quentin Tarantino. Kitano's films have won awards at the Venice and Cannes film festivals, but despite his impact on contemporary cinema, Beat Takeshi ...
Kitano Takeshi
The award-winning art film 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 under one name Kitano Takeshi. Who is 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 singular vision easily identifiable in all his work, or a new kind of star who manages multiples identities, strategically changing them from film to film and situation to situation? This book will expl...
'Beat' Takeshi Kitano
The first biography to appear on the actor best known for his performances in MERRY CHRISTMAS MR LAWRENCE and JOHNNY MNEMONIC. It is through his own movies, which he wrote, directed and often acted in the main role, that Takeshi has built up a following in several Western countries. His films BOILING POINT, GETTING ANY? and VIOLENT COP involving love, violence, humour and individuals trying to make sense of confusing situations have marked Takeshi out as one of the key figures in contemporary cinema. Includes f/c photographs.
Beat Takeshi Vs. Takeshi Kitano
The first volume in Kaya's series examining the work of a new wave of Asian filmmakers who are reshaping contemporary cinema Called "the world's most original action auteur" by the Village Voice, Takeshi Kitano is already legendary in Japan, where he is known both for his inventive films and for his legendarily caustic alter ego, comedian Beat Takeshi. In the United States, his stylishly noir aesthetic has both influenced and been admired by such directors as Martin Scorcese and Quentin Tarantino. His emotionally intense yet lyrical films have won him worldwide acclaim and honors, including the Grand Prix for Hanabi [Fireworks] at the Venice Film Festival. Now, the long-awaited Beat Takeshi ...
Takeshi Kitano
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北野武/ビートたけし
Mainly known as a TV personality and film producer, this is Takeshi Bito's first art project. His idea is that art does not need to be serious and that those coming to see his installations should relax enjoy them, and become participants. He sees art as an evolving process with no fixed ideas and likes to twist conventions.
Takeshi Kitano
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Takeshi Kitano
En Japón, Takeshi Kitano sigue siendo ante todo " Beat " Takeshi: un multifacético bufón, en el sentido más noble del término. Este libro, sin embargo, se centra en el único Kitano que «existe» para el resto del mundo: el cineasta-autor que obtuvo el reconocimiento del sanedrín crítico mundial a partir de su séptima película, «Hana-Bi (Flores de fuego,» 1997). Desde ese momento, su filmografía anterior sería objeto de un interés antes relegado a las catacumbas del cine de culto, y el propio Kitano se embarcará en la difícil empresa de aproximarse con cada nuevo film a su propio prestigio. Se le define como post-modernista; como calígrafo hiper-formalista y heredero del más reconocible cine clásico japonés; como arquetipo del cineasta «oriental» (contemplativo, «naif», melancólico, viril). El análisis de sus películas en términos de estilo permite, cuando menos, considerar los supuestos que sostienen tales afirmaciones como etapas en el camino de legitimación cultural de la figura de un autor.
