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The Man Who Left His Will on Film

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Published: 01 May 2024
Figure 1 Death of the cameraman in The Man Who Left His Will on Film (dir. Ōshima Nagisa, 1970). More
Image
Published: 01 May 2024
Figure 2 Yasuko in front of the projected footage (in The Man Who Left His Will on Film , dir. Ōshima Nagisa, 1970). More
Image
Published: 01 May 2024
Figure 4 Yasuko walking into the frame toward the mailbox, preventing Motoki from recreating Endo's shot (in The Man Who Left His Will on Film , dir. Ōshima Nagisa, 1970). More
Journal Article
positions (2024) 32 (2): 287–314.
Published: 01 May 2024
...Figure 1 Death of the cameraman in The Man Who Left His Will on Film (dir. Ōshima Nagisa, 1970). ...
FIGURES | View All (4)
Journal Article
positions (2001) 9 (2): 369–399.
Published: 01 May 2001
... 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...
Journal Article
positions (1994) 2 (1): 133–174.
Published: 01 February 1994
... 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...
Journal Article
positions (2023) 31 (3): 623–648.
Published: 01 August 2023
..., made films in Paris that portrayed the working-class community before he went to shoot Anna Karenina in Britain. 15 Prior to making Carrie , Wyler had several left-leaning films in Hollywood to his credit, including Dead End (1937, Samuel Goldwyn), which dramatized the lives of marginalized...
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Journal Article
positions (2022) 30 (4): 815–838.
Published: 01 November 2022
.... 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...
FIGURES
Journal Article
positions (2017) 25 (1): 29–50.
Published: 01 February 2017
... 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...
Journal Article
positions (2009) 17 (3): 713–740.
Published: 01 August 2009
... 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...
Journal Article
positions (2022) 30 (1): 137–158.
Published: 01 February 2022
... 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 a lot of the imported machinery...
FIGURES
Journal Article
positions (2003) 11 (3): 675–716.
Published: 01 August 2003
... 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...
Journal Article
positions (2022) 30 (4): 679–703.
Published: 01 November 2022
... in the film: R will become increasingly detached from external narratives and simultaneously more active. R reaches a full degree of subjective autonomy when the first imaginary sister, who symbolized the old Left, becomes the second one, who can be considered a representation of the New Left's ethos...
Journal Article
positions (2010) 18 (2): 425–458.
Published: 01 May 2010
...?” 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...
Journal Article
positions (2014) 22 (1): 161–201.
Published: 01 February 2014
... 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...
Journal Article
positions (2011) 19 (1): 217–228.
Published: 01 February 2011
... 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...
Journal Article
positions (2017) 25 (1): 173–194.
Published: 01 February 2017
... 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...
Journal Article
positions (2003) 11 (1): 51–90.
Published: 01 February 2003
... Linda Emery, a white American of Swedish-Englishancestry,andtheysoonhadason,Brandon,andadaughter, Shannon. When asked about “racial barriers,” he told a Hong Kong jour- nalist in 1972 that “I, Bruce Lee, am a man who never follows those fearful...
Journal Article
positions (2014) 22 (2): 329–369.
Published: 01 May 2014
... (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...
Journal Article
positions (2010) 18 (2): 459–487.
Published: 01 May 2010
... 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...