Monday, September 8 2014
Magic Boy is Japanese animated cinema in the style of Disney.
Friday, June 7 2013
As the title announces, these romantic games are more or less nothing. What becomes something, even as it is a lie, is the besmirching of Hero to the point that she appears to deserve, in this man's world, all manner of outcasting, even unto death.
Friday, April 5 2013
There's a sort of hypnotics at work in Deniz Tortum's Zayiat that hints at the core idea of the story while still keeping that essential kernel of je ne sais quoi intact.
Thursday, November 15 2012
Because history can be seen to be a malleable artifact, it’s a useful tool to employ when writing fiction. Because history is often chaotic, fiction can be the best way to approach it.
Friday, February 10 2012
While some want to question his authorship, there is no denying the lasting influence of William Shakespeare. These 10 titles prove that with accolades to spare.
Monday, September 19 2011
Eminent Shakespeare scholars present their argument in response to the upcoming release of Roland Emmerich's Anonymous.
Thursday, August 25 2011
Akira Kurosawa makes a daring attempt to tell an epic story of rich businessmen, determined cops, and the low-end criminals and drug addicts struggling to survive.
Sunday, August 14 2011
Mid-way through our series, Day 5 is a glorious mishmash of international auteurist cinema. Today we go from saints and sinners, from Brookyln to Britain, from the beginning of time to the Dystopian future, and around the world and beyond.
Thursday, July 21 2011
Into this movie's milieu of prison terms, all-night gambling sessions and literal and figurative back-stabbings arrives a dewy young woman named Saeko (pronounced, more or less, 'psycho') who is very young and very tired of life.
Thursday, October 21 2010
The Individual As Institution: Power, Loss and Madness in Kurosawa’s Ran and Shakespeare’s King Lear
By identifying Lear with the ancient Japanese warlord Hidetora, whose violations emerge from a breach of publicly identified self-hood, Akira Kurosawa plays with the quintessentially Shakespearean focus on individual personality.