Synonyms for tokihiko or Related words with tokihiko
Examples of "tokihiko"
(written: 時彦, 聡彦) is a masculine Japanese given name. Notable people with the name include:
Her father was the noted silent film actor
Okada, who before his early death (the year following his daughter's birth) starred in Yasujirō Ozu's "Tokyo Chorus" (1931).
Until Taisho Katsudo Eiga stopped to making films in 1922 Kurihara made more than 30 films. He also lectured to lots of film directors and actors: Tomu Uchida, Kintaro Inoue and Buntaro Futagawa;
Okada, Michiko Hayama, Ureo Egawa and Atsushi Watanabe.
"Tuxedo Gin" has been reviewed as having the sort of wacky premise and serious plotlines that make a good romantic comedy, unfortunately being weakened by mediocre characters.
Matsuura's art has been praised for clean lines and clear layouts but criticized for its generic character designs.
In 1908, Shōzō Makino, considered the pioneering director of Japanese film, began his influential career with "Honnōji gassen" (本能寺合戦), produced for Yokota Shōkai. Shōzō recruited Matsunosuke Onoe, a former kabuki actor, to star in his productions. Onoe became Japan's first film star, appearing in over 1,000 films, mostly shorts, between 1909 and 1926. The pair pioneered the "jidaigeki" genre.
Okada was a popular romantic lead of the same era.
In 1925, Yamamoto returned to his native Japan and appeared with
Okada in a film entitled "Maboroshi no hansen". After a four-year hiatus, he returned to the Japanese screen in two 1929 films and no fewer than eleven 1930 films, including "Sono yo no tsuma" and "Ojosan", both directed by Yasujirō Ozu. He worked steadily through the 1930s, appearing in more than forty films, working with directors like Ozu and Hiroshi Shimizu, usually in supporting roles. In the 1940s, however, he appeared in only a handful of films. Among his last were "Nishi manrui" (Two outs, bases loaded, 1946) and "Yottsu no koi no monogatari" (Four tales of passion, 1947).
Shinkō was established in September 1931 out of the remnants of the Teikoku Kinema studio with the help of Shōchiku capital. The historian Jun'ichirō Tanaka writes that the studio was part of Shōchiku's effort to monopolize the Japanese film industry, using Shinkō to control some of the independent production companies by distributing their films, and absorb rebellious talent who left rivals like Nikkatsu or Fuji Eiga. And in fact, Shinkō did distribute the films of jidaigeki stars like Tsumasaburō Bandō and Kanjūrō Arashi or gendaigeki stars such as Takako Irie. For a time, such directors as Kenji Mizoguchi, Tomu Uchida, Minoru Murata, Shigeyoshi Suzuki, and Yutaka Abe, as well as such stars as
Okada, Isamu Kosugi, Eiji Nakano, Fumiko Yamaji and Mitsuko Mori made movies there. Masaichi Nagata became studio head at one point. Its main offices were located in Hatchōbori in Tokyo, and its studios in Uzumasa in Kyoto and Ōizumi (now in Nerima) in Tokyo.
The was a left-wing film organization, known as Prokino for short, active in the late 1920s and early 1930s in Japan. Associated with the proletarian arts movement in Japan, it primarily used small gauge films such as 16mm film and 9.5mm film to record demonstrations and workers' lives and show them in organized events or, using mobile projection teams, at factories and mines. It also published its own journals. Most of its films were documentaries or newsreels, but Prokino also made fiction films and animated films. Prominent members included Akira Iwasaki and Genjū Sasa, although in its list of supporters one finds such figures as Daisuke Itō, Kenji Mizoguchi, Shigeharu Nakano, Tomoyoshi Murayama, Kiyohiko Ushihara, Kogo Noda, Takiji Kobayashi, Sōichi Ōya, Fuyuhiko Kitagawa,
Okada, Matsuo Kishi, Kiyoshi Miki, Denmei Suzuki, Teppei Kataoka, and Shigeyoshi Suzuki. The movement was eventually suppressed by the police under the Peace Preservation Law, but many former members became prominent figures in the Japanese documentary and fiction film industries.
The story starts out with a group of young men attending school drills under the direction of Mr. Omura (Tatsuo Saito). Shinji Okajima (
Okada) is seen goofing off, misbehaving, and upsetting his teacher. After being disciplined the drills resume and the boys eventually graduate and go out into the working world. Okajima has grown up, now has a family, and works as an insurance salesman. On the day of their annual bonuses the men are all anxious. Okajima's son (Hideo Sugawara) has his heart set on a bicycle. After receiving his bonus, Okajima writes out the list of presents he will buy for his family. A co-worker named Rou-Shain Yamada (Takeshi Sakamoto) is laid off because his last two clients died shortly after signing their policies. Upset for him Okajima gathers the other workers to go "protest at least once" to the boss but the others back down and one such worker (Isamu Yamaguchi) challenges Okajima to make the protest himself. Okajima takes the challenge. While in the office the boss is offended at the subject and the two begin a comedic fight. By the end of the fight Okajima is fired and bows as he leaves. He returns home with a scooter for his son, who is immediately disappointed and throws a tantrum. His wife Tsuma Sugako (Emiko Yaguma) returns from the market and tries to calm the boy while Choujo tells her what happened.
Based out of Melbourne, Australia and Tokyo, Japan, "Red Leaves / 紅葉" is edited by writers Kirk Marshall and Yasuhiro Horiuchi, and designed by Liberty Browne. The inaugural issue was translated by Sunny Suh, Asami Nishimura and Joo Whan Suh. The journal is produced independently through the small press imprint, A Cowboy Named Molasses Publishing, and was first published and launched in May, 2010, during the 2010 Emerging Writers' Festival in Melbourne. It featured contributions from thirty writers, including Ivy Alvarez, Toby Litt, Nathaniel Rich, Nicholas Hogg, Travis Jeppesen, Eric Dando, Patrick Holland, Jeremy Balius, Mandy Ord, Hirofumi Sugimoto, Daisuke Suzuki, Kenji Siratori, Keiji Minato, Kuniharu Shimizu,
Araki and Iris Yamashita. The magazine is released as an anthology annually and showcases short fiction, "manga", creative non-fiction and poetry. It is concerned with exhibiting the work of emerging and established authors, with an aesthetic focus on experimental narrative, cultural transnationalism and cross-cultural poetics. The second issue, a spoken-word collection, would be released in 2013.
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