Search Results for The Man Who Left His Will on Film

...Figure 1 Death of the cameraman in The Man Who Left His Will on Film (dir. Ōshima Nagisa, 1970). ...

... symbolizes power and authority, but their fathers’ legacies are left imprinted on the two painters’ realities. Unlike Man-su, who opposes meeting his father, Ch’il-su confronts his father on his return to Tongduch’˘on, his home district...

... a wealthy woman, depending on his in-laws to support his mother and sister. The man's filial piety and unhappy family background serve to mitigate Dreiser's antihero who succumbs to his lust for the woman. Hung Sin-nui 紅線女 (a famous Cantonese opera actress) plays Carrie Mui (Mui Ka-lai 梅嘉麗), a peasant...

... Hiroshima, Mon Amour) with the “invaders among us” cold war/SF para- noia of The Man Who Fell to Earth, which adds an anxiety to the “just like us” consolation of the fetishist, an anxiety continued by the film’s refusal to deflect...

... many shifts and changes, this ap- plies in a general sense to virtually all of his photographic films — the Figure 15  Dog Star Man: Prelude (Stan camera suggests a sort of embod...

.... At the same time, Zhang, as a member of the Korean Chinese elite who has already left the town, is watching his people from the outside. The nostalgic sentiment throughout the film is created mainly due to its temporality—the time and space of this town are represented as past. 17 Although...

... of the past have been empty. When we see the drunken Dae-su in the police station, we see a typical salary man who has overindulged in a typical activity for his type: exces- sive drinking in an effort to relieve himself from the stress of corporate...

... juror #8 abstains. To explain his change of heart, the old man recounts an episode from his past that has no equivalent in the 1957 film. His father used to own a textile factory that in 1955 was nationalized. It was then run by “technically ignorant people” ( budong jishu de ren 不懂技术的人) who ruined...

... system) as a paradigmatic example of what can be called a Japanese New Left cinematographic movement, and I will explore how this director provided his own perspective on subjectivity as self-negation through his film practice. The contribution of a film such as Kōshikei to the ideas of subjectivity...

... on Dust in the Wind, then later we worked again with him on City of Sadness. After these two films we really felt that he was amazing. HHH: His whole life was amazing; he was a truly fascinating man. CTW: But he was quite old...

...?” The young man standing in the forefront of the screen has a somber look on his face. He refuses to speak. The camera angle is an extreme close-­up, enlarg- ing his face to fill the screen and nearly blocking out a view of the film- positions 18:2  Fall 2010...

... and seven or eight extremely tall columns of a Western-­style building. A policeman walks down the street. His figure casts a long shadow on the street as a strong light comes from the off-­screen left. The policeman finds a homeless man lying...

... mines, their futures uncertain. This ending and the narrative complement each other beautifully. Still Life opens with a group of people crammed into a boat. The lead role, played by Han Sanming, is a man from Shanxi who goes to look for his...

... (mountain film), Arnold Fanck directed films that thematized the primordial battle between man and nature, several of them starring Leni Riefenstahl, who began her own filmmaking under his tutelage. Critics comment on the Bergfilm...

... female painters. By the end of the film, Yu-chŏng is left with an undesired possible pregnancy and rejected by Sŏng-nam, who flees back to his wife in Korea. Min-sŏn commits suicide after Sŏng-nam first humiliates her then casts her aside for the much younger Yu-chŏng. Completing the denigration of all...

... Athithi (Guest, dir. K. P. Kumaran, 1975) presents us with a chasm between the rural and the urban in condensed spatial terms. The film is about a family of four who eagerly awaits the arrival of a man from Bombay. The house indicates a static...

... the wheel of his Mercedes. In the end, the violence of Tiananmen’s political upheaval does not appear visually in the film. Rather, it is displaced onto the image of a beaten and bloodied Lan Yu who materializes, ashen and apparition-­like...