Jintetsu is lost in the mountains when a man offers him shelter. But the quaint house is actually a house of horrors, haunted by lost love and madness.
A saga of revolution and warfare set in nineteenth-century Kyoto is centered on the bakumatsu, a chaotic and bloody period in Japan's history which would result in the disbanding of the samurai culture.
Eric Dodson-Robinson’s Revenge, Agency, and Identity from European Drama to Asian Film challenges critical readings of drama, film, and literature that downplay agency. From Attic tragedy, through Seneca and Shakespeare, and into Japanese and Korean film, the book pursues the agent of vengeance in her fury to reconstruct an identity shattered by trauma. Tragic revenge is an imaginary theater only partly encompassed by disciplines, institutions, and discourses. In this theater, violence becomes contagious and potentially transformative as performance gives birth to the agent of vengeance: a complex, emergent agent who is more than the sum of the actors, auteur, tradition, and audience, all of whom infiltrate, and strive to control, her will. The agent of vengeance, determined to outdo past exemplars, exacts traumatic excess, not equivalence.
Anime source book with over 80 Q & As and a wealth of trivia and character bios. It explains everything from the backgrounds of the creators and the quirks of the charactrs to the plethora of magical powers and alternate dimensions.
Three months after the Ikedaya Incident crushed the anti-shogunate rebellion--and propelled the Shinsengumi, Kyoto's now-official police, into history as Kyoto's premium peacekeeping force--there is still no rest for the peaceful, as an unexpected threat to the Shinsengumi arises. Original.
Time passes, but not all wounds are healed. Tetsu's finally getting taller, and his sword skills are improving exponentially, but the Shinsengumi members face newer and greater challenges every day. And while Sakamoto Ryoma continues his own crusade to change Japan for the better, Suzu's scheme for revenge on Tetsu takes a tragic twist.
Kurosawa generally is recognized as the best of the modern Japanese filmmakers. He was the first Japanese director to gain international recognition, partly because his storytelling technique is not culture-bound. Rashomon (1950), a story of rape and terror that is told from several different viewpoints, received first prize at the Venice Film Festival in 1951; the film's title has become synonymous with the concept of subjective truth expressed in widely varying versions of the same story. The Seven Samurai (1954), a humanistic tale of samurai risking their lives to defend a poor village, is another Kurosawa classic. Kurosawa has always been attracted to Western literature, and two of his most notable films are based on Shakespeare's plays: Throne of Blood (1957), a retelling of Macbeth, and Ran (1985), a masterly reinterpretation of King Lear.