zondag 11 maart 2012

Taira no Kiyomori - 平清盛


Title: 平清盛
Title (romaji): Taira no Kiyomori
Format: Renzoku
Genre: Jidaigeki
Broadcast network: NHK
Broadcast period: 2012-Jan
Air time: Sunday 20:00

Synopsis
In the last days of the Heian period, the Ise Heike signaled their presence to the aristocratic society by eradicating piracy in the Seto Inland Sea. Taira no Kiyomori had been raised to be a samurai by his adoptive father, Taira no Tadamori, and learnt the importance of “human bonds”. He also acquired foresight and judgment from life aboard ships and grew up to be rugged young man through his dealings with foreign merchants and pirates. When Kiyomori goes up to the imperial capital, he meets unique individuals: Minamoto Yoshitomo who would be a rival in the first half of his life; Sato Norikiyo a master in literary and military arts who would later become the monk Saigyou; and Prince Masahito who would transformed from a delicate youth to become Japan’s supreme ruler, the future Emperor Go-Shirakawa. These men see the world with the young Kiyomori and talk about their own dreams. However, it is a war-torn world. The battle for succession within the imperial family begins with the Hogen.Heiji Rebellion. What Kiyomori sees there are scenes from hell as children attack their parents, and older brothers destroy their younger siblings. In the midst of this, Kiyomori is ordered by Emperor Go-Shirakawa to put down Yoshitomo who has become an enemy of the court. However, he saves the life of Yoshitomo’s son, Yoritomo, out of compassion – a decision that would create a huge tragedy. While the Fujiwara regents and advisors as well as the Genji lose power as a result of the fight, Kiyomori becomes the leader of the samurai and influences national politics. His sworn friend, the cloistered Emperor Go-Shirakawa, runs a government and wields political power. The two men form an alliance, but soon end up in a bitter dispute. To Kiyomori, who has no knowledge of his birth parents, his family is his pillar of support. He obeys the teachings of Tadamori and maintains the clan’s ties. However, when Kiyomori loses his beloved eldest son, Shigemori, to illness, Emperor Go-Shirakawa attempts to oust the Heike. Unable to put up with it any longer, Kiyomori stages a coup which puts an end to the emperor’s cloistered rule. He becomes the supreme ruler, and in that moment, the first samurai in the nation’s history to take power. Moving the capital from Kyoto to Fukuhara (present day Kobe) for the first time in 400 years, he takes the reins of the government and tries to return to his dreams of establishing a huge trading port centred around trade with the Song Dynasty and building a trading nation open to the outside. However, these swift reforms invite criticism from society and Kiyomori is made into a big-time villain. Riding the wave of public opinion, Emperor Go-Shirakawa issues an order to expel the Heike. While the Genji led by Yoritomo rally in a call to arms across the nation, Kiyomori dies of fever … …--Jdrama Weblog

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zaterdag 3 september 2011

Shadow Warriors ( 影の軍団 Kage no Gundan )

I have finally managed To Get My Hands on Kage no Gundan.Seasons 1 and Seasons 2.






Shadow Warriors (TV series)

From Wikipedia, the free encyclopedia
Hattori Hanzō: Kage no Gundan
Format action, adventure
Starring Sonny Chiba
Teruhiko Saigō
Country of origin Japan
No. of episodes 27
Production
Running time 60 minutes (per episode)
Broadcast
Original channel Fuji TV
Original run April 1, 1980 – September 30, 1980
Shadow Warriors (影の軍団 Kage no Gundan) is a Japanese television jidaigeki show featuring Sonny Chiba that ran for four seasons in the early 1980s.
Chiba played different ninja characters in each series. In the first he played Hattori Hanzō III, in second he played Tsuge Shinpachi, in the third he played Tarao Hanzō, and in the fourth he played Hattori Hanzō XV. In the 2003 direct-to-DVD series Shin Kage no Gundan (New Shadow Warriors) he played Hattori Hanzō I.

Contents

[hide]

Seasons

  • Hattori Hanzō: Kage no Gundan I (1980) - 27 episodes
  • Kage no Gundan II (1981-1982) - 26 episodes
  • Kage no Gundan III (1982) - 26 episodes
  • Kage no Gundan IV: Bakumatsu Hen (1985) - 40 episodes
  • Shin Kage no Gundan (2003) - 6 direct to video episodes.
There is also a feature film Kage no Gundan: Hattori Hanzō (1980).

DVD release

The complete first season of the show was released on April 17, 2007 on Region 1 DVD by BCI Home Entertainment.[1]

References

  1. ^ Lacey, Gordon (2007-02-01). "Navarre Corporation's BCI to Release an Epic Samurai/Ninja Television Series Starring Sonny Chiba" (in English). TVShowsOnDVD.com. Retrieved 2007-12-26.

External links

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vrijdag 19 augustus 2011

private movies TV series i have

private movies TV series i have.Dis is link to my home page Dont ask to buy DVDS not for Sell. Trading DVDS is possible.I have not yet setup trading rules.It is not update for 2 years sorry.
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donderdag 18 augustus 2011

Jidaigeki ( 時代劇 )

Jidaigeki (時代劇?) is a genre of film, television, and theatre in Japan. The name means "period drama" and is usually the Edo period of Japanese history, from 1603 to 1868. Some, however, are set much earlier — Portrait of Hell, for example, is set during the late Heian period — and the early Meiji era is also a popular setting. Jidaigeki show the lives of the samurai, farmers, craftsmen, and merchants of their time. Jidaigeki films are sometimes referred to as chambara movies, a word meaning "sword fight", though chambara is really a sub group. They have a set of dramatic conventions including the use of makeup, language, catchphrases, and plotlines.

Types of jidaigeki


Actor Kotaro Satomi as Mito Kōmon
Many jidaigeki take place in Edo, the military capital. Others show the adventures of people wandering from place to place. The long-running television series Zenigata Heiji and Abarenbō Shōgun typify the Edo jidaigeki. Mito Kōmon, the fictitious story of the travels of the historical daimyo Tokugawa Mitsukuni, and the Zatoichi movies and television series, exemplify the traveling style.
Another way to categorize jidaigeki is according to the social status of the principal characters. The title character of Abarenbō Shogun is Tokugawa Yoshimune, the eighth Tokugawa shogun. The head of the samurai class, Yoshimune assumes the disguise of a low-ranking hatamoto, a samurai in the service of the shogun. Similarly, Mito Kōmon is the retired vice-shogun, masquerading as a merchant. In contrast, the coin-throwing Heiji of Zenigata Heiji is a commoner, working for the police, while Ichi (the title character of Zatoichi), a blind masseur, is an outcast, as were many disabled people in that era. In fact, masseurs, who typically were at the bottom of the professional food chain, was the one of the only vocational positions available to the blind in that era. Gokenin Zankurō is a samurai but, due to his low rank and income, he has to work extra jobs that higher-ranking samurai were unaccustomed to doing.
Whether the lead role is samurai or commoner, jidaigeki usually reach a climax in an immense sword fight just before the end. The title character of a series always wins, whether using a sword or a jutte (the device police used to trap, and sometimes to bend or break, an opponent's sword).

Sengoku-jidai

 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2008)
Sengoku-jidai (Warring States era setting) is a Japanese genre that has been used as the setting for novels, films, video games, and even anime and manga. It bears some parallels with the Western; Akira Kurosawa's Seven Samurai, for example, was remade in a Western setting as The Magnificent Seven. The famous anime and manga series InuYasha is set in this period despite some moments that were set in the modern era.

Roles in jidaigeki

Among the characters in jidaigeki are a parade of people with occupations unfamiliar to modern Japanese, and especially to foreigners. Here are a few.

Warriors

Main article: Samurai cinema
The warrior class included samurai, hereditary members in the military service of a daimyo or the shogun (themselves samurai). Ronin, samurai without masters, were also warriors, and like samurai, wore two swords; they were, however, without inherited employment or status. Bugeisha were men, or in some stories women, who aimed to perfect their martial arts, often by traveling throughout the country. Ninja were the secret service, specializing in stealth, the use of disguises, explosives, and concealed weapons.

Craftsmen

Craftsmen in jidaigeki included metalworkers (often abducted to mint counterfeit coins), bucket-makers, carpenters and plasterers, and makers of woodblock prints for art or newspapers.

Merchants

In addition to the owners of businesses large and small, the jidaigeki often portray the employees. The bantō was a high-ranking employee of a merchant, the tedai, a lower helper. Many merchants employed children, or kozō. Itinerant merchants included the organized medicine-sellers, vegetable-growers from outside the city, and peddlers at fairs outside temples and shrines. In contrast, the great brokers in rice, lumber and other commodities operated sprawling shops in the city.

Governments

In the highest ranks of the shogunate were the rojū. Below them were the wakadoshiyori, then the various bugyō or administrators, including the jisha bugyō (who administered temples and shrines), the kanjō bugyō (in charge of finances) and the two Edo machi bugyō. These last alternated by month as chief administrator of the city. Their role encompassed mayor, chief of police, and judge, and jury in criminal and civil matters.

Ban'ya, Toei Uzumasa Studios
The machi bugyō oversaw the police and fire departments. The police, or machikata, included the high-ranking yoriki and the dōshin below them; both were samurai. In jidaigeki, they often have full-time patrolmen, okappiki and shitappiki, who were commoners. (Historically, these people were irregulars, called to service only when necessary.) Zenigata Heiji is an okappiki. The police lived in barracks at Hatchōbori in Edo. They manned ban'ya, the watch-houses, throughout the metropolis. The jitte was the symbol of the police, from yoriki to shitappiki.
A separate police force handled matters involving samurai. The ōmetsuke were high-ranking officials in the shogunate; the metsuke and kachi-metsuke, lower-ranking police who could detain samurai. Yet another police force investigated arson-robberies, while Shinto shrines and Buddhist temples fell under the control of another authority. The feudal nature of Japan made these matters delicate, and jurisdictional disputes are common in jidaigeki.
Edo had three fire departments. The daimyo-bikeshi were in the service of designated daimyo; the jōbikeshi reported to the shogunate; while the machi-bikeshi, beginning under Yoshimune, were commoners under the administration of the machibugyō. Thus, even the fire companies have turf wars in the jidaigeki.

Licensed quarter on a set at Toei Uzumasa Studios, Kyoto
Each daimyo maintained a residence in Edo, where he lived during sankin kotai. His wife and children remained there even while he was away from Edo, and the ladies-in-waiting often feature prominently in jidaigeki. A high-ranking samurai, the Edo-garō, oversaw the affairs in the daimyo's absence. In addition to a staff of samurai, the household included ashigaru (lightly armed warrior-servants) and chūgen and yakko (servants often portrayed as flamboyant and crooked). Many daimyo employed doctors, goten'i; their counterpart in the shogun's household was the okuishi. Count on them to provide the poisons that kill and the potions that heal.

Other

The cast of a wandering jidaigeki encountered a similar setting in each han. There, the karō were the kuni-garō and the jōdai-garō. Tensions between them have provided plots for many stories.
What would a jidaigeki be without characters to give the flavor of the times? Jugglers, peddlers, fortune-tellers, candy-sellers, rag-pickers, blind moneylenders, itinerant singer/shamisen-players, effete courtiers from the imperial capital at Kyoto, the Dutch kapitan from Nagasaki, streetwalkers and prostitutes from the licensed and unlicensed quarters, the million-dollar kabuki actor, flute-playing mendicant komusos wearing deep wicker hats, and of course geisha, provide a never-ending pageant of old Japan.

Conventions

 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2006)
There are several dramatic conventions of jidaigeki:
  • The heroes often wear eye makeup, and the villains often have disarranged hair.
  • A contrived form of old-fashioned Japanese speech, using modern pronunciation and grammar with a high degree of formality and frequent archaisms.
  • In long-running TV series, like Mito Kōmon and Zenigata Heiji, the lead and supporting actors sometimes change. This is done without any rationale for the change of appearance. The new actor simply appears in the place of the old one and the stories continue. This is similar to the James Bond film series.
  • In a swordfight, when a large number of villains attacks the main character, they never attack at once. The main character first launches into a lengthy preamble detailing the crimes the villains have committed, at the end of which the villains then initiate hostilities. The villains charge singly or in pairs; the rest wait their turn to be dispatched and surround the main character until it is their turn to be easily defeated. Swordfights are the grand finale of the show and are conducted to specially crafted theme music for their duration.
  • On television, even fatal sword cuts draw little blood, and often do not even cut through clothing. Villains are chopped down with deadly, yet completely invisible, sword blows. Despite this, blood or wounding may be shown for arrow wounds or knife cuts.
  • On film, most often the violence is considerably stylized, sometimes to such a degree that sword cuts cause geysers of blood from wounds. Dismemberment and decapitation are common.

Clichés and catchphrases

Authors of jidaigeki work clichés into the dialog. Here are a few:
  • Tonde hi ni iru natsu no mushi: Like bugs that fly into the fire in the summer (they will come to their destruction)
  • Shishi shinchū no mushi: A wolf in sheep's clothing (literally, a parasite in the lion's body)
  • Kaji to kenka wa Edo no hana: Fires and brawls are the flower of Edo
  • Ōedo happyaku yachō: "The eight hundred neighborhoods of Edo"
  • Tabi wa michizure: "Travel is who you take with you"
In addition, the authors of series invent their own clichés in the kimarizerifu (catchphrases) that the protagonist says at the same point in nearly every episode. In Mito Kōmon, in which the eponymous character disguises himself as a commoner, in the final swordfight, a sidekick invariably holds up an accessory bearing the shogunal crest and shouts, Hikae! Kono mondokoro ga me ni hairan ka?: "Back! Can you not see this emblem?", revealing the identity of the hitherto unsuspected old man with a goatee beard. The villains then instantly surrender and beg forgiveness. Likewise, Tōyama no Kin-san bares his tattooed shoulder and snarls, Kono sakura fubuki o miwasureta to iwasane zo!: "I won't let you say you forgot this cherry-blossom blizzard!" After sentencing the criminals, he proclaims, Kore ni te ikken rakuchaku: "Case closed."
The kimarizerifu betrays the close connection between the jidaigeki and the comic-book superhero.[citation needed]

Famous jidaigeki

 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2008)
For content set in (or largely in) the Edo period, see Edo period in popular culture.

Films

Video games

Anime and manga

Live action television

Famous directors

Names are in Western order, with the surname after the given name.

Famous actors and actresses

 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2008)
Names are in Western order, with the given name, then the family name.

Influence

Star Wars creator George Lucas has admitted to being inspired significantly by the period works of Akira Kurosawa, and many thematic elements found in Star Wars bear the influence of Chanbara filmmaking. In an interview, Lucas has specifically cited the fact that he became acquainted with the term jidaigeki while in Japan, and it is widely assumed that he took inspiration for the term Jedi from this.[1][2][3]

References

  1. ^ Duggan, Jedi M.. "History of the Jedi & The Jedi Religion". Jedi Sanctuary. Archived from the original on 2007-06-30. Retrieved 2007-07-19.
  2. ^ "Trivia for Star Wars (1977)". Internet Movie Database. Retrieved 2007-07-19.
  3. ^ Star Wars: The Legacy Revealed. The History Channel. 2007-05-28. about 90 minutes in.

External links

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