name reading problem - Yamatoya jnr

Michael McCaskey mccaskem
Wed Jan 17 09:38:22 EST 2007


It's Gyo, according to Allcinema--

大和屋暁 やまとや・ぎょう 

http://www.allcinema.net/prog/show_p.php?num_p=275111

Best Wishes,

Michael McCaskey
Georgetown Univ.

----- Original Message -----
From: "J.sharp" <j.sharp at hpo.net>
Date: Wednesday, January 17, 2007 10:09 am
Subject: name reading problem - Yamatoya jnr

> I wonder if anyone can help me with this small query regarding the 
> correcttransliteration of the name of Atsushi Yamatoya's son,
> &#22823;&#21644;&#23627;&#26241;, 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
> 
> 
> --
> Midnight Eye: The Latest and Best in Japanese Cinema
> www.midnighteye.com
> 
> ===
> 
> Available now in bookstores everywhere:
> The Midnight Eye Guide to New Japanese Film (Stone Bridge Press)
> by Tom Mes and Jasper Sharp
> http://www.midnighteye.com/features/midnighteye_guide.shtml
> "Easily one of the most important books on Japanese cinema ever 
> released in
> English."
> - Newtype USA
> 
> 
> 
> --------- 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. 
> BestWishes,
> >
> > 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 
> multiplesets 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 <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 
> thatlate.
> > &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 
> dialogueand 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 
> genuinepleasure.
> > &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 
> GeneralElectric  &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 
> tensestmoments 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 
> presentsany insurmountable problems.  &gt; &gt; With the 
> introduction of the foreign
> talkies he has attempted to &gt; &gt; &gt; carry on in the best 
> traditionsof 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 
> foreigntongue, 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, 
> MichaelMcCaskey 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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> 
> 




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