Koert Davidse studied photography and visual arts at the St. Joost Academy in Breda. Subsequently, he has worked as a scriptwriter for both fiction films and documentaries. Since the late 1990s, he has also directed documentaries himself. In 2004, he established the seriousFilm production company together with Marc Thelosen. Tadanori Yokoo is a renowned Japanese artist whom Davidse has a great admiration for. He expresses this admiration by literally inserting himself into several of the paintings as an extreme form of identification with the artworks, and also as a means to come as close to these particular paintings as possible.
Quoting Masterpieces is screening at Camera Japan
In that fashion, the 12 minutes short begins with the camera passing through Yokoo’s paintings, while Davidse is narrating, essentially commenting on the paintings, and particularly some small details in them that highlight how closely he has studied them. The purple nails of a...
Quoting Masterpieces is screening at Camera Japan
In that fashion, the 12 minutes short begins with the camera passing through Yokoo’s paintings, while Davidse is narrating, essentially commenting on the paintings, and particularly some small details in them that highlight how closely he has studied them. The purple nails of a...
- 9/25/2023
- by Panos Kotzathanasis
- AsianMoviePulse
While the lesser-known Shohei Imamura and Susume Hani are important figures in Japan’s new wave cinema, the most influential filmmaker and pivotal figure of this movement remains Nagisa Oshima. The Japanese new wave can in no way be compared to the French New wave or the British new wave, as each of this movement came into being in a specific societal constellation. In the case of the Japanese new wave, the movement was concerned with revealing the societal contradictions specific to Japan and, often, to underline the rise of materialistic values.
While much has already been written and said about the Japanese new wave cinema and Nagisa Oshima , there still remains more to be said about this movement. So, as a humble beginning, let’s take a closer look to one of Nagisa Oshima ’s most well-known narratives, “Diary of a Shinjuku Thief”.
One day, Birdie...
While much has already been written and said about the Japanese new wave cinema and Nagisa Oshima , there still remains more to be said about this movement. So, as a humble beginning, let’s take a closer look to one of Nagisa Oshima ’s most well-known narratives, “Diary of a Shinjuku Thief”.
One day, Birdie...
- 10/22/2018
- by Pieter-Jan Van Haecke
- AsianMoviePulse
“This is Ali Baba, town of mystery…”
As most of us know, the 1960s, especially the second half, were a time of upheaval, protests and general unrest in many areas of the world. Protests against the Vietnam War and the establishment resulted in a decade defined by violence on the one side, but also change on the other. Culturally, one could argue the late 1960s and early 1970s constitute one of the most interesting periods for the arts, a moment in time during which the possibility of change was a tangible shimmer on the horizon. And even though much of this hope was shattered by a re-affirmation of the ruling order – at least to some extent – the minds of people had been changed forever, as evident in the way culture has changed during that period.
Of course, times of change and upheaval often tend to give birth to fascinating and...
As most of us know, the 1960s, especially the second half, were a time of upheaval, protests and general unrest in many areas of the world. Protests against the Vietnam War and the establishment resulted in a decade defined by violence on the one side, but also change on the other. Culturally, one could argue the late 1960s and early 1970s constitute one of the most interesting periods for the arts, a moment in time during which the possibility of change was a tangible shimmer on the horizon. And even though much of this hope was shattered by a re-affirmation of the ruling order – at least to some extent – the minds of people had been changed forever, as evident in the way culture has changed during that period.
Of course, times of change and upheaval often tend to give birth to fascinating and...
- 9/23/2018
- by Rouven Linnarz
- AsianMoviePulse
Above: Poster signed “coo” for Nikudan [The Human Bullet] (Kihachi Okamoto, Japan, 1968).
For the past two months, and concluding this weekend, the Museum of Modern Art in New York has been screening the films of Japan’s Art Theater Guild. Programmed in conjunction with the gallery exhibition Tokyo 1955-1970: A New Avant-Garde, the series Art Theater Guild and Japanese Underground Cinema 1960-1986 was “the most comprehensive U.S. retrospective ever devoted to...the independent film company that radically transformed Japanese cinema by producing and distributing experimental, transgressive, and genre-shattering films from the early 1960s until the mid-1980s.”
Posters for the Atg were harder to find than I expected, at least in good high-quality scans, so I have concentrated on a handful of masterful designs from the late 60s, all of which use a combination of photo montage and illustration (a couple of which I have featured in this column before.)
According...
For the past two months, and concluding this weekend, the Museum of Modern Art in New York has been screening the films of Japan’s Art Theater Guild. Programmed in conjunction with the gallery exhibition Tokyo 1955-1970: A New Avant-Garde, the series Art Theater Guild and Japanese Underground Cinema 1960-1986 was “the most comprehensive U.S. retrospective ever devoted to...the independent film company that radically transformed Japanese cinema by producing and distributing experimental, transgressive, and genre-shattering films from the early 1960s until the mid-1980s.”
Posters for the Atg were harder to find than I expected, at least in good high-quality scans, so I have concentrated on a handful of masterful designs from the late 60s, all of which use a combination of photo montage and illustration (a couple of which I have featured in this column before.)
According...
- 2/8/2013
- by Adrian Curry
- MUBI
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