Perhaps this will help with respect to "Hairpin Circus":<br><br><a href="http://sketchesofcinema.wordpress.com/2010/04/23/hairpin-circus-1972/">http://sketchesofcinema.wordpress.com/2010/04/23/hairpin-circus-1972/</a><br>
<br>"The film’s asset is realism. The stunts are real, as is most of the 1971
Macau Grand Prix that was written into the storyline. The filmmakers
were allowed to shoot on location while the actual race took place. This
was made possible by the fact that [Kiyoshi] Misaki was a real life race driver
who took part [in] the race with his Honda JRM AC-7, and finished 3rd."<br><br>Best regards,<br>Patrick Murtha <br><br><div class="gmail_quote">On Mon, Feb 13, 2012 at 8:16 AM, Jasper Sharp <span dir="ltr"><<a href="mailto:jasper_sharp@hotmail.com">jasper_sharp@hotmail.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0pt 0pt 0pt 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">
<div><div dir="ltr">
<br>Does anyone know anything about the director Kiyoshi Nishimura, more specifically, his two films <i><span style="font-weight:normal">Red
Target</span></i><span style="font-weight:normal"> (</span><i><span style="font-weight:normal">Bara
no hyoteki</span></i><span style="font-weight:normal">) and </span><i>Highway
Circuit</i> a.k.a. <i>Hairpin Circus</i> (<i>Heapin saakasu</i>), both from 1972. It seems to me, flicking through the Unijapan catalogues of that year, that they were both shot in Hong Kong/Macao, but I'm wandering if this was actually the case.<div>
The reason I ask is that the Unijapan catalogue mentions both were shot in Eastman Color, but from this period, almost all of Toho's films were shot in Fujicolor (except those such as <span style="font-weight:normal">Shinoda’s
</span><span style="font-weight:normal"><i>The Scandalous Adventures
of Buraiken </i>that were shot in Panavision) - so there must be a reason they were shot in Eastmancolor, and if they were shot on location in Hong Kong (Shaw Brothers used Eastman Color, for example), this this would sort of make sense. Or maybe I'm barking up a completely nonsensical tree here...</span></div>
<div><br><p style="margin-bottom:0cm"><span style="font-weight:normal"> <br></span>
</p><p style="margin-bottom:0cm"><span style="font-weight:normal"> <br></span>
</p><div><br></div><div><span style="font-size:10pt">My n</span>ew book, <b><i>The </i></b><span style="font-size:10pt"><b><i>Historical Dictionary of Japanese Cinema</i></b>,</span><span style="font-size:10pt"> is out now from<a href="https://rowman.com/ISBN/9780810857957" target="_blank"> Scarecrow Press.</a></span></div>
<br>Jasper Sharp: Writer & Film Curator Homepage<br><a href="http://jaspersharp.com/" target="_blank">http://jaspersharp.com/</a><br><br>Midnight Eye: The Latest and Best in Japanese Cinema<br><a href="http://www.midnighteye.com" target="_blank">http://www.midnighteye.com</a><br>
<br>Zipangu Fest: Japanarchy in the UK<br><a href="http://zipangufest.com/" target="_blank">http://zipangufest.com/</a><br></div> </div></div>
</blockquote></div><br><br clear="all"><br>-- <br><div>Mark R. Harris<br></div><div>Profesor de humanidades</div><div>Tecnologico de Monterrey, Campus Sinaloa</div><div>Blvd. Pedro Infante 3773</div><div>Culiacan, CP 80100, Sinaloa, Mexico</div>
<div>+52 (667) 759-1600</div><a href="mailto:mark_r_harris@yahoo.com" target="_blank">mark_r_harris@yahoo.com</a><br><a href="mailto:brokerharris@gmail.com" target="_blank">brokerharris@gmail.com</a><br>