Analysis Of The Movie ' Kabuki '

Kabuki is a form of theater that is rooted in challenging the deviance. Izumo no Okuni a female who dressed like a man was the creator of the Kabuki art form. Kabuki arose during the later part of the 16th century and early part of the 17th century. What made the Kabuki Theater a direct challenge to social and political norms was the storylines chosen, the audience to which it was preformed, and who the performers were. Kabuki is an art form that serves as a representation of how theater can be used to challenge authority, and how through such a confrontation can play a role revaluating norms in society. Kabuki challenged notions of masculinity and femininity. Kabuki theater came to popularity during the Edo period in Japan. During this period

While the case murder trial was going on, Kaelin was the subject of many jokes made in the media. While on the stand Kaelin story was different from Simpson’s and his testimony was inconsistent. After Simpson was acquitted and found not guilty Kaelin was still the butt of many jokes and many outlets were publishing false story headlines. The newspaper, National Examiner published a cover story title citing “Cops Think Kato Did It” with a picture of Kaelin posing shirtless. In the article it claimed that Kaelin’s friends believed that he was still a suspect in the murders. According to M.L Stein, Kaelin feared he was wanted for perjury due to the article (Stein, 1999). Kaelin end up suing the newspaper publisher, Globe Communications, for

In 1603, the establishment of the Tokugawa shogunate allowed Japan to stay at peace until 1868 (Theatre histories 203). The return of peace allowed for a new culture to emerge that was the opposite of samurai elegance and control; there was a new form of entertainment called Kabuki. These types of performers reversed gender roles and mocked samurai rulers, which caused the samurai, traders and workers in wealthy towns to disapprove of these performers. Even though they were annoyed at these performances, it “confirmed what they took to be their innate superiority to the rowdy culture of the cities” (203). The success of these performances can be explained by the cultural hierarchy theory. The cultural hierarchy is the idea that cultures create a divide to depict the ethical differences. There is a high-status

The movie Bashu: A Little Stranger, is a heartwarming commentary written and directed by Bahram Beizai in 1989 on the effects of war, love, and racism in a small village community in Iran. Beizai challenges the widely accepted Iranian identity through stars Susan Taslimi as Naii, Bashu’s adopted mother and Adnan Afravian as Bashu. The film boasts a simple plot, yet the societal critiques are strong and apparent. It takes place during the Iraq-Iran war, a war brought forth from long standing border conflicts and fears of revolution. Many critics agree that Bashu is a timeless film. Although produced in 1989, this situation could happen at any point in time.

Translated as “the art of singing and dancing” some people interpret Kabuki as “bizarre and shocking.” Unlike Noh, Kabuki used more lively tactics to entertain it's audience using wild costumes, fireworks and real swords in sword fighting. Kabuki first started in 1603 when Izumo no Okuni, a shrine maiden began performing a new style of dance. The style immediately grew popular and Okuni was asked to perform for the Imperial court. Rival troupes then formed and Kabuki was born. Since Kabuki was a women on performance, performers were also available to prostitution. With performances going from morning to sunset, Kabuki became a common form of entertain in the 1600s and is argued that Kabuki started pop culture in Japan. It wasn't till the Shogunate disliked Kabuki for being to erotic and open to prostitution, it was banned in 1629. Young boys then played in Kabuki, but was banned as well due to the young boys being eligible for prostitution. Kabuki then switched to male actors in the mid 1600s and when back to it's traditional ways of males playing both male and female roles. The Genroku era (1673-1841) became the golden age of Kabuki theatre. The structure of Kabuki was formalized and coventail characters types were established. A Kabuki stage features a projection called “Hanamichi”,a walkway that extends out to the audience and allows entrances and exits to be made. A curtain that shields the stage before and during breaks is in traditional colors of black, red , and green. White also can replace the green if needed and is one continuous piece of fabric. An additional curtain called a “doncho” depicts the season the performance is taking place, but wasn't used until the Meiji Restoration. Kabuki stages have gotten more technology advance unlike Noh stages which stayed the same. Trap doors and revolving stages were introduced in the eighteenth century and stage tricks

As we know, Japanese culture is ancient, rich and assorted. It is considered a millennium culture, with lots of traditions and beliefs that make it very attractive. These traditions and beliefs are expressed, among other ways, through the performing arts, as: theatre, cinema, ballet, dance, etc. which somehow express the identity of the Japanese people. Within these performing arts we can find to BUNRAKU and KABUKI which belong to this kind of art, but they are two expressions very different from each other.

Timbuktu, a movie that dares to humanize Jihadists begins its opening scene with a group of Jihadists in a pick-up truck driving after a gazelle across the desert. The Jihadists intermittent gunshots at the gazelle shows their goal was not to kill the animal, but to exhaust and scare it. The Jihadists want to exude power and instill fear to the people of Timbuktu, just like they were doing to the gazelle. Shortly after, the next scene shows the same men shooting and destroying traditional relics like masks and statues. Their goals of causing damage were blatant, with a constant stream of gunshots aimed at the artifacts. In the Jihadists’ eyes, physical statuettes avert people’s affection from the actual God and to the statues. Shooting the artifacts eliminates the physical distraction in hope of having the people’s attention focused on their God. This is a complete eradication of the preexisting culture, and installing the Jihadist’s notions and ideologies. Both scenes depict haphazard, senseless brutality and exemplify the Jihadists clear intentions of removing African culture, and installing an Islamic extremism one. Chasing away the gazelle is figurative for chasing away the traditional African customs and culture. This scene is very significant because it immediately identifies the groups; the Jihadists are the oppressors, and the common African people are the subjugated. Abderrahmane Sissako in his film Timbuktu shows the African cultures being expunged by the Jihadists

"Prop boxes" are groups of dramatic play materials that are organized around specific themes. Those themes range from simple subjects like the beach or the farm to the more complex bank, dentist, or science lab. The boxes often are placed in a dramatic play center to spark students' imagination and promote role-playing and exploration.

is part of a play on acted out on a stage. The manner in which the

On the stage, we have a candle on a bedside table, we have a bookshelf, a bed, a plant, and a window. All of these things together, create the appearance of a working theatre, and all of these things use transformations of energy to change.

pKabuki, that was understood to be the greatest form of theatre throughout Japan, for over three centuries , entails “an intense mixture of dance, music, mime, costumes, and remarkable staging”.2 As Kabuki originated at the time of Banraku, Kabuki adopted numerous movements and multiple plays from this theatre form that have played a big part in the creation of Kabuki Theatre. While The Picture Book of the Taiko was created and performed by the Banraku movement in 1789, its first performance in the Kabuki form was achieved in 1799.3 According to many Kabuki folklores, in 1603, this art form was created by Okuni, a Buddhist priestess who performed ritual dances on riverbeds along the Kamogawa River in Kyoto, Japan.4 Even though a modest woman created this theatre form, women worked as prostitutes when they were not performing, and ultimately the government banned women from performing Kabuki theatre, for the attempt to save the public standards of women. Because of this upset commanded by the government, men perform all women characters.

Japan’s cultural pastimes, namingly dances and dramas, contain more than a millennium of uninterrupted history. The seriousness employed within different forms of play, theatrically speaking, makes Japan an extraordinary and unique country. In all of Asia, where tradition is generally subjected to assimilation, Japan’s theatre culture stands out as an art form that has never suffered a decline nor undergone any drastic change. The most traditional well-preserved form of theater in Japan is kabuki. It is a theatrical form that harmonizes singing, acting, and dancing to create a stylized performance. Kabuki’s unique characteristics specialize in elaborate colorful costumes, excessive makeup on white-painted faces, traditional Japanese folk music, and

Japanese culture is notable for developing various, unique forms of entertainment. In our contemporary society these forms of entertainment could take fruition in the form of a drama, or an animated series. However, the roots to these developments originate from the progression of Japanese theater. Japanese theater includes three main categories, Bunraku, Kabuki, and Noh. Bunraku is a theater oriented around puppetry, while Kabuki is a theater that is centralized around dance and drama. Noh is a traditional Japanese theatrical form and one of the oldest extant theatrical forms in the world. Noh performers are simply storytellers who use their visual appearances and their movements to suggest the essence of their tale rather than to enact

In the film “Jiro Dreams of Sushi”, the audience is taken on a journey around Jiro’s personal life and is introduced to everyone that makes him the successful man he is. When you first see these like-minded individuals, you believe that these men have a perfect life’s, but throughout the movie I found information that led me to understand that things are not always as they seem. In traditional Japanese culture, professional success is often valued over personal life.

Chinedu is the name of the movie character I selected, from a movie titled The Emotional Agony. Chinedu has a personality disorder in the movie performance. King explained that “chronic, maladaptive cognitive-behavioral patterns that are thoroughly integrated into an individual personality” is known as personality disorder (king, 2016). Personality disorders are comparatively popular (King, 2016). Personality disorder can also be defined as a mental discomfort "enduring pattern[s] of inner experience and behavior" that are sufficiently rigid and deep-seated to bring a person into repeated conflicts with his or her social and occupational environment. DSM-IV-TR specifies that these dysfunctional patterns must be regarded as nonconforming or deviant by the person's culture, and cause significant emotional pain and/or difficulties in relationships and occupational performance. In addition, the patient usually sees the disorder as being consistent with his or her self-image and may blame others (Personality disorders, 2007). Personality disorders arise in late adolescence or early adulthood. Doctors rarely give a diagnosis of personality disorder to children on the grounds that children's personalities are still in the process of formation and may change considerably by the time they are in their late teenage years. But, in retrospect, many individuals with personality disorders could be judged to have shown evidence of the problems in childhood (Personality