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Pages in category "Japanese independent films" The following 78 pages are in this category, out of 78 total. This list may not reflect recent changes. 0–9.
Night and Fog in Japan (日本の夜と霧, Nihon no Yoru to Kiri) is a 1960 Japanese drama film directed by Nagisa Ōshima.It deals with the contemporary Zengakuren opposition but also evokes the 1950 protests against the Anpo treaty; this political content is related to the particular approach of memory and interpersonal dynamics of social movements in the film.
The Japanese security chief, suspicious of unrest, tricks her colleagues and uncovers Gwan-sun's role as the leader, and tortures her severely. After this, Gwan-sun pretends to obey the Japanese but secretly prepares another independence movement. This movement spreads beyond the prison and into the streets.
The Color of Honor: The Japanese American Soldier in WWII [18] 1987 Loni Ding: Conscience and the Constitution [19] 2000 Frank Abe Days of Waiting: 1990 Steven Okazaki: Dear Miss Breed [20] 2000 Veronica Ko Democracy Under Pressure: Japanese Americans and World War II [21] 2000 Jeffrey S. Betts A Divided Community [22] 2012 Momo Yashima Double ...
Research Guide to Japanese Film Studies. Center for Japanese Studies, University of Michigan. ISBN 978-1-929280-53-7. Prince, Stephen (1999). The Warrior's Camera. Princeton University Press. ISBN 978-0-691-01046-5. Richie, Donald (2005). A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos. Kodansha ...
Pages in category "Japanese short films" The following 38 pages are in this category, out of 38 total. This list may not reflect recent changes. 0–9. 893239; A.
Day of Independence is a 2003 short film, broadcast in 2005 as a half-hour PBS television special. It is a drama, set during the Japanese American internment of World War II , produced by Cedar Grove Productions with Visual Communications as fiscal sponsor.
The term New Wave was coined after the French Nouvelle vague, a movement which had challenged the traditions of their national cinema in style and content, countering established narratives and genres with "the ambiguous complexities of human relationships" and polished techniques with deliberately rough ones, [5] and introducing the theory that directors should be the auteurs of their films.