name reading problem - Yamatoya jnr

[J.sharp]

I wonder if anyone can help me with this small query regarding the correct
transliteration of the name of Atsushi Yamatoya's son,
大和屋暁, currently working as a scriptwriter for TV
kids anime shows such as Naruto. I've seen it written in various sources as
Akatsuki, Akira and Gyuu. Which of these is correct?

thanks,

Jasper Sharp


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--------- Original Message --------
From: KineJapan at lists.acs.ohio-state.edu
To: KineJapan at lists.acs.ohio-state.edu <KineJapan at lists.acs.ohio-state.edu>
Subject: Re: Subtitles in Japanese Theaters in the 1930s
Date: 15/01/07 14:10

>
> Dear Markus,
>
> Thank you very much! It's more or less as my mother said, after all. She
told me the whole scene was so confusing that she eventually stopped going
to see American films, though she was American. When I heard the story, it
just sounded too bizarre to pass on to anyone, ever. Now I know it was true.
I very much look forward to finding out a lot more from your book. Best
Wishes,
>
> Michael
>
> PS
> Embellishments to the story were that the benshi used a megaphone, much
like a cheerleader, and that with some foreign films there were multiple
sets of different subtitles, above and below the picture on the screen, or
even sometimes vertical Japanese ones on the side.
>
> ----- Original Message -----
> From: Mark Nornes &lt;amnornes at umich.edu&gt;
> Date: Monday, January 15, 2007 2:56 pm
> Subject: Re: Subtitles in Japanese Theaters in the 1930s
>
> &gt; You heard right. I have not come across mentions of benshi &gt;
narrating  &gt; over a subtitled film; however, benshi + talkie was a common
 &gt; practice. I am unsure how long it lasted. I'm sure it was around &gt;
up  &gt; to 1935 to 1936. After that, the Japanese industry converts to &gt;
sound,  &gt; so it's hard to say. I haven't seen articles about it that
late.
> &gt; &gt; I can give you a few choice quotes to whet your appetite. Here
is &gt; a  &gt; foreign visitor to Japan in 1931:
> &gt; &gt; &gt; Benshi are as indispensable as ever; only, in relation to
the  &gt; &gt; &quot;talkie&quot; they must sandwich their words between an
exasperating &gt; &gt; &gt; jumble of mechanical foreign-language dialogue
and sound &gt; effects, a  &gt; &gt; task that cannot but make the whole
ensuing struggle (for that,  &gt; &gt; indeed, it is) seem farcical. The
benshi-plus-silent-film  &gt; &gt; combination was beautifully suited to
Japanese needs and  &gt; &gt; temperament. With the advent of sound films
the unpopularity of  &gt; &gt; American pictures for a time threatened to
become almost as  &gt; &gt; emphatic as once had been their popularity. But
this feeling was &gt; in  &gt; &gt; no measure due to the fact that an
anti-American sentiment had  &gt; &gt; arisen. On the contrary, it was the
simple reaction of a public  &gt; &gt; chagrined at not being able to
comprehend something that in the  &gt; &gt; past had brought it genuine
pleasure.
> &gt; &gt; Here is a sound engineer visiting from Hollywood, having just
seen &gt; a  &gt; benshi-accompanied screening of the 1928 film The Redskin:
> &gt; &gt; &gt; It gave the impression of benshi vs. ERPI [the General
Electric  &gt; &gt; sound system[The benshi] was getting rather angry,
according &gt; to  &gt; &gt; the manager, who explained on day that if we
did not favor him &gt; he  &gt; &gt; might start a general strike.
> &gt; &gt; And here is Tachibana Takahiro:
> &gt; &gt; &gt; [The benshi] explains the difficult points in a complicated
 &gt; &gt; intrigue, reminds the spectators of what has gone before, and 
&gt; &gt; generally indicates who's who and what's what to those to whom
&gt; such  &gt; &gt; things might not be obvious. Moreover, in the tensest
moments of &gt; a  &gt; &gt; drama, he will impersonate the figures on the
screen, and, with  &gt; &gt; considerable ventriloquial skill, will be
successively the  &gt; &gt; murdering villain, the wailing mother and the
awe-struck child. &gt; For  &gt; &gt; the foreign pictures he does all these
things with equal skill, &gt; and  &gt; &gt; incidentally he translates the
printed captions, so that the  &gt; &gt; language difficulty never presents
any insurmountable problems.  &gt; &gt; With the introduction of the foreign
talkies he has attempted to &gt; &gt; &gt; carry on in the best traditions
of his craft, with results that &gt; can  &gt; &gt; be perhaps better
imagined than described. The unfortunate  &gt; &gt; spectator's ears are
assailed on the one side by the strident  &gt; &gt; accents of a foreign
tongue, and on the other by the gallantly  &gt; &gt; explanatory benshi
forever doing his best. It is Man versus the  &gt; &gt; Machine, and the
result pandemonium, or as a foreign friend once &gt; &gt; &gt; described it
to me in parody of Mr. Kipling's lines, &quot;The benshi &gt; &gt; &gt;
brawls / But the talkie squalls / and it weareth the benshi &gt; down&quot; 
&gt; &gt; Thus it can be seen that the benshi who was a great asset to the
&gt; &gt; &gt; foreign silent film is hardly that to the talkie.
> &gt; &gt; You can find out more about the translation strategies of talkie
&gt; era  &gt; distributors and exhibitors in my upcoming book on film &gt;
translation.  &gt; It should be out at the end of the year, from Univ. of
Minnesota &gt; Press.
> &gt; Markus
> &gt; &gt; &gt; &gt; &gt; &gt; &gt; On Jan 15, 2007, at 7:18 AM, Michael
McCaskey wrote:
> &gt; &gt; &gt; An American who lived in Japan in the 1930s once told me
that  &gt; &gt; European and American films shown in Japanese theaters not
only &gt; &gt; &gt; had Japanese subtitles, but even at times a benshi to
narrate,  &gt; &gt; while the original sound track was going. I believe this
person &gt; &gt; &gt; also said that sometimes there might be a second set
of &gt; subtitles-- &gt; &gt; perhaps English ones (?), if the sound track
was in a &gt; Continental  &gt; &gt; European language.
> &gt; &gt;
> &gt; &gt; This would have been between 1935 and 1941, so it would have
&gt; been  &gt; &gt; unlikely that any of the films were silent. The titles
were  &gt; &gt; displayed directly on the picture screen--not inter-titles.
> &gt; &gt;
> &gt; &gt; I was quite young, not paying full attention when I heard all 
&gt; &gt; this. Some people on this list are experts on 1930s Japan and 
&gt; &gt; film, so perhaps someone could shed some light on whether the 
&gt; &gt; actuality was anything at all like these shaky third-party  &gt;
&gt; recollections.
> &gt; &gt;
> &gt; &gt; Michael McCaskey
> &gt; &gt; Georgetown Univ.
> &gt; &gt;
> &gt; &gt;
> &gt; &gt;
> &gt;
>
>
>
>
>
>

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