Tuesday, June 28, 2011

10th New York Asian Film Festival: The Chaser & Ninja Kids!!!

Now in its tenth year of providing New Yorkers with a more robust and complete picture of the cinemas of contemporary Asia, thanks to its emphasis on the multitudinous entertainment-first forms that have remained mostly outside the purview of the City's annual autumnal art cinema showcase, the 2011 New York Asian Festival will accelerate its focus on one of the more vital channels of the continent's popular modes, the Korean action thriller. Grouped under the heading, "Sea of Revenge: New Korea Thrillers," the NYAFF will be presenting a half-dozen features made in the wake of the extraordinary, industry-saving popularity of Na Hong-jin's The Chaser (Chugyeogja, 2008), along with the genuine article (for the first time at the Manhattan event). Na's handsome, if brutal 2008 debut fits the NYAFF's specific cultural imperative: highly accessible, and, in the case of The Chaser, well-crafted popular film art that the parallel cineaste culture has long had the habit of overlooking in its continuing (though laudable) search for new global forms and distinctive auteurs - a pursuit that has favored the 'twice-told' singularity of Hong Sang-soo's idiom, and to a somewhat lesser extent, the conspicuous humanism of Lee Chang-dong's novelistic, mid-level work. Whereas festival-heavyweight Hong's closed system derives foremost from Eric Rohmer's overtly verbal, art-house body of work, for example, The Chaser emerges from a set of more popular sources including the double-chase story structures of Alfred Hitchcock, the abject serial-killer narratives - and under-lit spaces - of David Fincher, and especially from the revenge archetype and predilection for cross-cutting of Don Siegel's classic Dirty Harry (1971), which Na further references in his own hillside neon cross and a last-minute rescue plot-line that resolves itself in a similar fashion to the Eastwood vehicle.

While The Chaser accordingly proves a comparative bleak portrait of sadistic violence and revenge short-circuited, Na nevertheless manages to incorporate a sly sense of humor within his pulsing prostitutes, pimps, crooked cops and killer johns story-line. Na generates comedic effects both on the level of form, as in one especially adept elliptical hard cut where a relatively placid police house is replaced by a teaming space of screaming officers, and through his character's behaviors, with the eponymous detective-turned-pimp Kim Yun-seok's immediately callous treatment of the young daughter of his missing call-girl (Seo Yeong-hie) a particularly memorable example. Kim, whose performance propels Na's film in much the same way that Yang Ik-joon's does in the actor-writer-director's 2009 NYAFF peak Breathless (Ddongpari), ultimately comes to serve as a guardian for the young girl, which in turn infuses The Chaser with the same sentiment that Lee Jeong-beom magnifies for his comparatively lesser, surrogate father-daughter 'Sea of Revenge' offering, The Man from Nowhere (Ajeossi, 2010).

If The Chaser therefore offers comparatively old-fashioned pleasure within an essentially conventional narrative form, Miike Takashi's Ninja Kids!!! (2011), based on the extremely popular and exceedingly long-running animated series Nintama Rantarō (1993-present), suggests a newer mode of digital-era storytelling, wherein the act of telling increasingly has come to supersede more traditional modes of showing. Throughout Ninja Kids!!!, Miike's narrative frequently stops in order to identify the film's many would-be ninjas and the school's instructors, as well as to explain their off-beat training regimens, with pre-pubescent, bespecled superstar Katô Seishirô, in the Rantarō role, providing the consistently humorous, Wes Anderson-brand informational voiced-off commentary. (Given that Miike is, in essence, adapting a 1,450-plus episode animated series makes Ninja Kids!!!'s emphasis on information all the more understandable.) Miike does no less violence to the naturalism and integrity of his film's spaces, whether a warrior is tearing through a digitally composited background or one of his many figures is sporting a pink, solid plastic bump on his head. Indeed, the film's animated origins often return to the fore, with Chuck Jones especially emerging as a key influence on Miike's over-arching self-reflexivity.

Ultimately, Ninja Kids!!! represents the latest entry into the international, boarding-school sub-genre that Harry Potter has come to define over the previous decade, albeit with a much greater quotient of fart-jokes, piles of animal excrement and gleefully irresponsible moments of slapstick violence. Ninja Kids!!! likewise distinguishes itself from the far (and needlessly) darker Potter pictures in its consistently on-point sense-of-humor, whether Rantarō is racing through a watery battlefield with arrows whizzing past his head, playing up the melodrama as a comedic cut changes the perspective on the mountain that he and his classmates are scaling, tossing his throwing stars in a game of catch with his unsuccessful ninja father or whether he is insisting simply that all ninjas love Ramen. Though the episodic Ninja Kids!!! does at times lose its early comedic verve, there are more than enough highlights to recommend the ever-prolific and sadistic Miike's enjoyably misguided attempt at making a children's film.

The Chaser will screen once at 3:15pm, Thursday, July 14, at the Walter Reade Theater, while Ninja Kids!!! will received its world premiere at 7:00pm, Sunday, July 3 at the same venue, with an encore presentation at the Japan Society on Saturday, July 9 at 6:00pm.  

Monday, June 27, 2011

Over the Edge: Tsui Hark's The Blade (by, Lisa K. Broad)

Tsui Hark’s The Blade (1995), which will receive a rare 35mm screening at this year’s New York Asian Film Festival, is a mythical beast of a film. Cheng Cheh’s steel-plated revenge tale The One-Armed Swordsman (1967) provides its underlying narrative skeleton, and the rest is stitched together from marked flesh, mud, blood, smoke, fire, flashing lights, and shifting shadows. Much of the film is told from the point of view of the spoiled and cloistered young daughter of a sword factory owner, who lusts after two of her father’s employees, On and Iron Head. Her hothouse subjectivity lends the early sequences in the factory a vivid, sadomasochistic tactility that persists throughout the entire film. Tsui’s camera draws out the contrasts between the soft, pale hands of a monk and the tanned, scarred bodies of the sword factory workers who cut their muscled biceps in a Buddhist ceremony; it takes in the tattooed visage of Lung, the flying über-assassin who killed On’s father. The Blade also draws a series of parallels between men and animals, equating human flesh with raw meat.

Like Sam Peckinpah, Tsui pursues his genre-revisionist ends by juxtaposing brute physicality with disorienting stylistic abstraction. (An early sequence in which a group of laughing young men lure a dog headfirst into a bear trap recalls Peckhinpah’s The Wild Bunch [1969] while also foreshadowing On’s maiming at the hands of bandits.) Discussions of the film’s visual style often make reference to its use of frenetic cutting during the action sequences, but montage is not the only weapon in Tsui’s cinematic arsenal; every stylistic element is a freely moving part. Tsui consistently juxtaposes spatially and temporally disjunctive editing with teeming multi-planar compositions filled with whirling-dervish swordsmen, complex and frequently erratic camera movement, hallucinogenic primary colored lighting, and a bombastic musical score. The result is a kind of infernal overtonal-montage; a deranged work of film art that can only come to life in the projector. The Blade also makes extensive use of shadows, lens-flares, and reflections that – as a result of the rapid movement both within and between the film frames – often feel as real and solid as the objects photographed. In particular, a vertiginous action sequence set among ruined bamboo shelters creates a graphic lattice-like pattern of light and shadow that is truly avant-garde. After a while, the sensory overload is so extreme that the eye can no longer ‘look into’ the image-space; the illusion of depth is completely destroyed, and the motion-picture is revealed for what it is. A heady mixture of flesh and phantom that far exceeds the sum of its parts, The Blade will break you down.

The Blade will screen at 6:00pm, Saturday July 11 at Lincoln Center's Walter Reade Theater.  Filmmaker Tsui Hark will be in attendance.

Thursday, June 16, 2011

New Film: Midnight in Paris

Woody Allen's Midnight in Paris, the writer-director's era-bending perambulation through an unceasingly picturesque City of Lights - Darius Khondji (Se7en, 1995) and Johanne Debas deserve immediate citation for their deeply alluring lensing of the shifting French capital - manages to speak unerringly on the level of and to its assumed audience member (urban, liberal, upper-middle class and late middle-aged), without ever threatening even a hint of discomfort for the same bourgeois viewer. In a profound sense, Midnight in Paris is a work by and for America's complacent elite upper classes, for those who would deign to wonder aloud 'why anyone would live anywhere else when they could live in Paris,' or who still imagine that the nation's power-brokers consist predominately of French-hating, aesthetically insensate Republican W.A.S.P.'s, who (against all odds) still live in California. In this latter sense, the 'Marie Antoinette' Allen's cultural-cum-demographic politics belong squarely to the director's formative 1960s and 1970s, with just a dash of a more contemporary, Bush and Tea Party-hating variant of the director's signature 'bigotry for the Left.' Though the spectator is reassured that Allen's Owen Wilson surrogate is the one who always stands up for the help - of course does, don't all our betters? - Midnight in Paris has a serious class-problem, which ultimately manifests itself in Allen's extraordinarily anesthetized tourist's portrait of the French capital. Where Whit Stillman's similarly luminous, romantic and exceedingly verbal Metropolitan (1990) did manage a lower middle-class outside, Midnight in Paris remains squarely within the latter-day equivalent of the haute-bourgeoisie that Luis Buñuel skewered in the same Exterminating Angel (1962) to which Wilson's writer lead Gil refers in a fantastic encounter with the Spanish-born director. Of course, Allen, forever in his echo chamber, misses the irony that it is exactly his social class that Buñuel would ravage at present.  

Never mind, Allen wants you to know that he knows that Buñuel was a Surrealist. And that Ernest Hemingway wrote brusquely about the war and traveled to Mount Kilimanjaro, that F. Scott Fitzgerald married a ball-of-fire named Zelda, and that Auguste Rodin sculpted. Of course, Allen is no less inclined to ridicule Sorbonne-lecturer Michael Sheen's pontifications on any and every work of art that the Americans encounter, with Gil finally silencing the aforesaid with a bluff about Rodin, taken from an invented two-volume biography. Sheen's blowhard Paul, no less apt to resort to fiction presumably, responds to the writer's incantatory citation of authority, which Allen seems to suggest is all that matters to those egg-head academics. Allen's artist Gil, on the other hand, really cares about the art; he's the one who dreams about the past, and who is enraptured by meeting the Hemingway's and the Fitzgerald's and the Gertrude Stein's (which presents an undeniable, if shallow parallel pleasure for Midnight in Paris's acculturated viewers). The bourgeois Allen's surrogate truly treasures his Cliff Notes experience of "Lost Generation"-era Paris.      

Fortuitously, Stein, Hemingway et al. appreciate Gil's literary gift, just as we are asked to imagine the early champion of Henri Matisse and the author of The Sun Also Rises (1926) would value the work of our own age's evidently no-less gifted auteur. However, Allen's own writing in Midnight in Paris happens to interfere with this assumption, given how screamingly bad 'everything anyone ever says' actually is in the director's latest - a mouthful to be sure, but then again I would never assume that André Bazin or Manny Farber would be impressed by my prose. A self-deprecating Albert Brooks Allen most assuredly is not. Nor again he is a Stillman whose Jane Austen fascination has been digested in a manner that contrasts sharply with the writer-director's much too on-point, surface-level treatment of his own professed heroes. Nor is he a Buñuel or even more appropriately given his squarely middle-brow ethos, a Mike Leigh, whose strong sense of class indeed extends beyond his own current well-healed place. The latter director's exceptional 1976 tele-film, Nuts in May, in fact does impressive, if virtual work in sending up the American bourgeoisie of the early 2010s. Allen, on the other hand, seems to have no insight into his own moment, and no awareness of his socio-economic place, even if his film abounds with unintended sociological insights. When finally he does choose the Parisian present, it is for the continued existence of the boundlessly nostalgic boulevard café and, commensurate with another of the director's personal and artistic signatures, for the pretty (and notably) young-thing who shows an interest in the Allen surrogate.

Sunday, June 12, 2011

Alogaritma Google

Kapan ya bisa tahu sedikit alogaritma si mbah google?
Kabarnya ditahun 2011 ini yang jelas diterapkan mbah google dalam alogaritmanya untuk memerangi blog-blog AGC dan UGC sudah di terpkan di Amerika dan negara negara maju sekitarnya, kalo di indonesia saya masih jumpai banyak berkeliaran blog dummy di google.co.id
semakin penasaran dengan optimasi apa yang perlu dilakukan dengan alogaritma terebut, sepertinya cuma main putih aja yang bakal aman dari perburuan itu, untuk optimasi menembus si mbah, saya serahkan pada yang lebih berwenang :)

Saturday, June 11, 2011

Scandal - Haruka Lyric

Itsu no hi ka kanaerareru ai wa kimi no soba ni aru
Yakusoku nante iranai yo ne haruka hanarete ite mo

Umaku ienai ya kotoba tte tayorinai ne
Kokoro toridasette shimaeba raku nanoni na
Oboeta bakari no uta okuru youna gikochinasa de
Boku wa sayonara no kawari ni mata ne to itta

Hareta hi no sora ni omoide egakidasu yo
Nakimushi kakushita kimi no yasashii uso wo wasuretakunai ya

Namida nante nagasanai yo owari ja nai hajimari sa
Samishisa wo wakeatte mo mae ni susumenai kara
Nande darou? Yasashisatte itsumo ato de wakaru mono
Kimi to ita hi ga kagayaite boku wa aruite ikeru

Donna mainichi mo genjitsumi wo mashite iku ne
Ookina udedokei ni oware SURURI nuketeku
Mezashita GOORU wa menimieru youna mono ja nai kedo
Koronde tsuita kizo ato wa boku jishin sa

Yume wa itsumo hakanai mono kaze ga fukeba kiesou de
Makenai youni kesanai youni daiji ni motte itai
Namida nante niawanai yo donna toki mo waratte te
Kimi no shitteru boku de iru yo haruka hanarete ite mo

Akegata no HOOMU nandaka setsunaku naru
Ano hi hanashita kimi no te no nukumori ga wasurerarenai ya

Namida nante nagasanai yo owari ja nai hajimari sa
Yakusoku nante iranai yo ne zutto omotteru kara
Itsu no hi ka kanaerareru ai wa kimi no soba ni aru
Kitto kanarazu mata deaeru haruka hanarete ite mo

Kawari yuku toki no naka de ano hi no kimi de ite ne

Scandal - Shoujo S Lyric

sakki made to itteru koto chigau ja nai
chotto dake sugao miseta keredo
zutto iraira iraira shite wa
atashi o mono mitai ni atsukatte
sakki made to itteru koto chigau ja nai

dareka no sei ni shite wa nigekakure shiteru hibi
ate ni naranai wa I'm sorry toriaezu sayonara

anata ga inai to iya iya tte ieru wagamama
(zutto kienai you ni kesanai you ni)
aijou? yuujou? shiritai koto wa nandemo
(aimai sugite wakaranai yo)
itsuka kokoro no oku no doa o tataku anata o matteiru

sakki kara jibun no koto bakkari ja nai
chotto gurai kizutsuite mitara?

sou yatte yasashii kotoba de gomakasanaide
shinjirarenai wa kakkotsukenaide yo

nannen tatte mo itsu ni natte mo yamenaide

atashi ga inai to dame dame tte itte sunao ni
(motto hoshigatte yo tsuyogaranaide)
ai no zanzou yumemiru shoujo esukeepu
(tsukamattari nigekittari)
itsuka kokoro no kagi o kowasu you na...

anata ga inai to iya iya tte ieru wagamama
(zutto kienai you ni kesanai you ni)
aijou? yuujou? shiritai koto wa nandemo
(aimai sugite wakaranai yo)
itsuka kokoro no oku o daitekureru anata o matteiru

hoka ni wa nanimo iranai ya iya iya iya
ashita mo shinjiteitai iya iya iya iya iya iya

Scandal - Satisfaction Lyric

Hey You! Tarinakunai? Ai
No! No! Kanchigai shitai wa
Anytime! Kangaetatte
No! No! Ashita mo Baby Baby

Koko mama tooku made
Flyaway iketara...

Ki ga tsukeba
LOVE PAASENTO ga kiken na no desu
Sekaichuu ga sakenderu
Ima sugu ni
Tokimeki wo kanjite

Always! Kimi datte kitto
Maybe! Samishigariya desho

Itsu kara nareatte
I can't sunao ni

Itsumoyori gyutto
Sekaichuu ga sawagidasu
Ima sugu ni
Tokimeki wo kanjite

Tuesday, June 7, 2011

Medium short hair styles

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Medium Short Hairstyles,Short to medium hairstyles can be very comfortable. They are just the right length between long and short. Medium hair length is like the best of both worlds. You can have characteristics of both short hair and long hair. Some styles can be short or long or in between.

Super short hair styles

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super short hairstyles for blonde hair Super short styles are often styled with the use of pomade or hair wax that can help to create texture within the hair. Most super short styles appear thin and therefore these types of styling products can help add texture to the hair, creating volume throughout the entire length of the hair, even though there may be less length within the hair, there can still be body that can contribute to a stylish short hair do.

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Get the latest styling tips & celebrity hairstyle ideas for short, medium, long, ... looks can be produced like classic bobs and sleek simple cuts. ... See what the scoop is on this latest hairstyle trend that many teens and Indies are

short hair style for men

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Men short hair styles,Find your hairstyle within hundreds of hairstyle pictures in our short, medium long & celebrity hairstyle galleries for men and women.short Men Hairstyles,Men Hairstyles,Men Hair styles,Men short Hairstyles Pictures,Men short Hair styles Photos,Men Hair styles images,Male Haircuts,Medium Men Hair.

very short hair styles

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Very Short Hairstyles are a symbol of comfortability and easy maintainenace for women.They are at the top of the hairstyles gallery list for versatility and style.There are some very short hairstyles that can be made appropriate for individuals with larger or more prominent facial features. Bangs or larger wisps of hair and even layered very short hairstyles can be used to disguise these prominent hairstyles.

Monday, June 6, 2011

NO tongue piercings

funny-baby-body-piercingsPunk Baby Tattoos and Piercings Punk Baby Fashion

What Makes Belly Rings The Most Popular Body Jewelry

Why are belly rings the most popular body piercing jewelry? One word can answer that question: sexy. This type of pierce is most certainly the sexiest type of piercing that a female can h`ve. While some facial piercing can be seen as perhaps a bit extreme and other types of piercings might not show when one has their clothes on, what makes belly rings the most popular body jewelry is that in warm temperatures, one can easily show the piercing off and guys will be drooling! What could make a tummy sexier than a dangling, sparkling belly button piece of art? Find out how the proper way to get that belly pierced!

Popular Body Jewelry

Popular Body Jewelry

Sure, when it comes to jewelry we have tons of choices. We can decorate our ears with earrings, although they can be sexy, if your hair is long enough those earrings won’t even show. Necklaces are great accessories to outfits and the right necklace can pull together an outfit; however it does not yell “sexy”. Bracelets are cute and especially if you have matching or coordinating bracelets and necklaces, your look will be very nicely pulled together; but they don’t quite scream “sexy” either.

Rings are wonderful, if you keep your nails nice, rings can catch someone’s attention and the right rings can let others know that you have the mullah to treat your digits to some bling. But again, rings do not exactly scream “sexy”! Anklets are perhaps the second sexiest body jewelry; they can be very tantalizing to the opposite sex. Some may argue that belly chains run a close second as well.

The single sexiest pieces of jewelry you can have are belly rings. Why are belly rings the most popular body jewelry, you may ask. Plenty of reasons. Men find them extremely teasing and sexy, especially if you have a shirt that ends right where the piercing begins. Or perhaps a top that teases the piercing and depending on how you move, others will see glimpses of your piercing and only want to see more.

10 Beasiswa Teraneh di Dunia

Selain dari daftar ususal hibah yang berguna dan beasiswa, ada beasiswa yang aneh dan tidak biasa yang mahasiswa bisa dapatkan. Bagian terbaik tentang beasiswa ini adalah bahwa Anda tidak benar-benar perlu akademis secara luar biasa. Anda hanya perlu memiliki beberapa fitur khas atau hobi. Beberapa jenis beasiswa yang paling aneh adalah sebagai berikut.

1. Beasiswa Orang Kidal

Karena siswa kidal begitu banyak, beasiswa ini ditawarkan oleh Juanita College di Pennsylvania, adalah salah satu beasiswa yang paling umum dan dicari orang.

2. Beasiswa Toko Es Krim Nasional

Jika Anda bekerja di beberapa toko es krim, Anda mungkin memenuhi persyaratan untuk beasiswa ini. Jika Anda cukup beruntung, majikan Anda mungkin akan merekomendasikan Anda, dan Anda mungkin mengambil satu dari 17 $ 1.000 beasiswa.

3. Beasiswa Patrick Kerr Skateboard

Satu lagi beasiswa yang tidak biasa. Beasiswa ini dapat bergna bagi orang yang memiliki bakat skateboard

4. Beasiswa Nama Belakang Orang Yang Aneh

beasiswa ini biasa disajikan oleh Universitas Loyola di Chicago diberikan kepada siswa dengan nama-nama terakhir yang paling tidak biasa, yang terbaik sejauh ini adalah nama "Zolp"

5. Beasiswa Asma

Kedengarannya sangat aneh yang bahkan alergi Anda dapat memenangkan jumlah beasiswa yang besar. American Academy of Allergy, Asma dan Imunologi terutama bertanggung jawab untuk mensponsori beasiswa unik ini.

6. Kontes Beasiswa Stuck at Prom Duck Brand Duct Tape

Ini adalah sebuah kontes yang tidak biasa diadakan setiap tahun pada musim semi, dimana para siswa membuat dan mengenakan pakaian formal untuk bersaing mendapatkan hadiah beasiswa $ 2,500. Hadiah kedua dan ketiga adalah untuk mendapatkan beasiswa sebesar $ 1.000 dan $ 500 masing-masing.

7. Turnamen Kejuaraan Poker Online

Jika Anda adalah seorang juara di permainan poker, ini adalah kesempatan emas Anda untuk memenangkan jumlah besar sebagai hadiah beasiswa.

8. Beasiswa Orang Vegetarian

beasiswa ini disponsori oleh Vegetarian Resource Group hanya untuk orang dengan kebiasaan makan sayur-sayuran.

9. Beasiswa Klub Mahasiswa Tertinggi Internasional

Orang-orang tinggi sekarang memiliki kesempatan untuk ambil beberapa beasiswa yang bagus. Beasiswa ini pada dasarnya hanya mempertimbangkan tinggi seorang mahasiswa yaitu 5'10 "bagi siswa perempuan dan 6'2" untuk siswa laki-laki.

10. Beasiswa Ketepatan Meramal Masa Depan

Beasiswa ini agak sedikit berbeda dari apa yang namanya penghargaan, kontes ini sebenarnya adalah untuk mahasiswa yang tertarik dalam ilmu ekonomi. Peserta diharuskan untuk 'membeli dan menjual" prediksi masa depan hanya sebagai salah satu akan membeli saham.

sumber: http://www.mypepito.info/2010/06/10-beasiswa-teraneh-di-dunia.html