2025年4月21日 星期一

難忘3部小學生為主角的電影 (相關原著或資料之比較更有意思)：導演相米 慎二(Sōmai Shinji,1948~2001)：《搬家》《夏之庭》；導演製片：是枝裕和《無人知曉的夏日清晨 Nobody knows》。《夏之庭The Friends (1994)》 原作者湯本香樹實 1992；台北：玉山 星月書房 (1999 ) 。Shinji Sōmai (相米 慎二, 『お引越し』《搬家》 Moving(1993) 這是戰後日本文化社會夏 中上離婚家庭和特殊兒童成長史 (女，約11歲) 。 數百位小學生Ely伊利大教堂合唱的魅力。

 難忘3部小學生為主角的電影(相關原著或資料之比較更有意思)：導演相米 慎二(Sōmai Shinji,1948~2001)：《搬家》《夏之庭》；導演製片：是枝裕和《無人知曉的夏日清晨 Nobody knows》。《夏之庭The Friends (1994)》-- 原作者湯本香樹實 1992；台北：玉山 星月書房 (1999 )  。Shinji Sōmai ˇ奧 『お引越し』《搬家》 Moving(1993)    這是戰後日本文化社會夏 中上離婚家庭和特殊兒童成長史 (女，約11歲) 。 數百位小學生Ely伊利大教堂合唱的魅力。

無人知曉的夏日清晨 = Nobody knows=. 誰も知らない 是枝裕和編劇,導演,製片

是枝裕和.

Hirokazu Koreeda's "Nobody Knows," a harrowing, tender film, was inspired by a real event known in Japan as "the affair of the four abandoned children of Nishi-Sugamo." The facts of the case, which achieved some notoriety in 1988, suggest the kind of story you might follow, with a mixture of prurience, revulsion and moralism, on Court TV or in a tabloid newspaper. Four children -- three of them without birth records, all of them the offspring of different fathers -- were left alone by their mother in a small Tokyo apartment, where they lived for six months without attracting any notice or intervention.

Their tale is a rich, awful congeries of primal and distinctly modern fears, from the universal childhood fantasy of parental abandonment to the more grown-up suspicion that big cities are places of cruel isolation and indifference. Mr. Kore-eda explores nearly every emotional nuance and implication of the story, without for an instant succumbing to sensationalism or melodrama. The content of "Nobody Knows," which should consolidate his reputation as one of Japan's most interesting and original filmmakers, is inherently upsetting, and watching the film is, to some extent, a punishing immersion in impotent dread.

In observing the helplessness of the four children, you become acutely aware of your own inability to do anything for them. Mr. Kore-eda's camera is so close to them -- navigating the narrow, cramped spaces of their home, zooming in on their faces, hands and feet -- that the sense of their aloneness becomes overwhelming. You are in on the secret of their existence and prevented from communicating it.

是枝裕和執導的《無人知曉的夏日清晨》是一部令人痛心又溫柔的電影，靈感來自日本真實事件「西巢鴨四個棄兒事件」。該案於 1988 年引起軒然大波，其案情表明，人們可能會在法庭電視或小報上看到這樣的故事，其中夾雜著淫穢、厭惡和道德色彩。四個孩子——其中三個沒有出生記錄，他們都是不同父親的孩子——被母親獨自留在東京的一間小公寓裡，在那裡住了六個月，沒有引起任何注意或干預。


他們的故事充滿了原始的、可怕的恐懼，以及明顯的現代恐懼，從童年時期普遍存在的被父母拋棄的幻想，到成年人對大城市是殘酷的、孤立和冷漠的地方的懷疑。是枝裕和先生幾乎探索了故事中的每一個情感細微差別和含義，但絲毫沒有屈服於煽情主義或情節劇。 《無人知曉》本應鞏固他作為日本最有趣、最有創意的電影製作人之一的聲譽，但其內容本身卻令人不安，觀看這部電影在某種程度上是一種無力的恐懼。


看到這四個孩子的無助，你會深刻地意識到自己無力為他們做任何事。是枝裕和的鏡頭距離他們如此之近——鏡頭穿過他們家中狹小、擁擠的空間，放大他們的臉、手和腳——以至於他們的孤獨感變得無比強烈。你知道他們存在的秘密，但卻無法傳達它。


但由於這部電影也緊緊抓住了孩子們的視角——尤其是四個孩子中年齡最大的、由母親（You）照顧的阿基拉（Yuya Yagira）的經歷——它也提供了一定程度的安慰。阿基拉、他的兩個姊姊京子 (北浦亞由飾) 和由希 (清水桃子飾)，以及他們無法抑制的（也許還有點弱智的）弟弟茂 (木村飛英飾) 並沒有完全意識到他們所處的困境所帶來的可怕影響。畢竟，他們已經習慣了與孩子般、反覆無常的父母生活在一起，這個父母有時風趣、慷慨，有時又疏忽大意。在早期的場景中，他們與她的生活充滿了冒險和淘氣；兩個較小的孩子被藏在手提箱裡偷偷帶進新公寓，這樣房東就無法知道他們的存在。


But because the movie also sticks closely to the children's point of view -- and in particular to the experience of Akira (Yuya Yagira), the oldest of the four and the one left in charge by his mother (You) -- it also offers a measure of relief. Akira, his two sisters, Kyoko (Ayu Kitaura) and Yuki (Momoko Shimizu), and their irrepressible (and perhaps mildly retarded) younger brother, Shigeru (Hiei Kimura), are not quite aware of the horrific implications of their plight. They are, after all, accustomed to living with a childlike, erratic parent, who is capable of being funny and generous as well as neglectful. In the early scenes, their life with her has an adventurous, mischievous quality; the two smaller children are smuggled into the new apartment in suitcases, so their existence can be kept secret from the landlord.

Koreeda’s Nobody Knows: The Structure of a Fictional Documentary Richard HODSON Abstract Koreeda Hirokazu’s 2004 fi lm Nobody Knows, although inspired by a real event, is a work of fi ction that approaches its subject in a way that, due both to the unconventional circumstances of its filming, and to its apparently straightforward, naturalistic plot, looks like that of a documentary. This paper examines a number of motifs – the monorail, suitcases and other bags, a tear, the telephone, the landing of the children’s apartment, bills, nail polish, and hands – that give the film not only structural coherence, but also powerful symbolic weight.   http://reposit.sun.ac.jp/dspace/bitstream/10561/918/1/v13p19_hodson.pdf

是枝裕和的《無人知曉》：

虛構紀錄片的結構

理查德·霍德森

抽象的

是枝裕和 2004 年執導的電影《無人知曉》雖然靈感來自真實事件，但卻是一部

小說以一種方式處理其主題，由於非常規的情況

它的拍攝，以及它看似簡單、自然的情節，看起來像一個

記錄。本文探討了許多主題——單軌列車、手提箱和其他包款，

一滴淚水、電話、孩子們公寓的落地、賬單、指甲油和雙手——

不僅賦予影片結構上的連貫性，也賦予影片強大的象徵意義。


小學生電影的魅力

『お引越し』 Moving(1993)   )搬家 這是戰後日本文化社會夏 中上離婚家庭和特殊兒童成長史 (女，約11歲)




日台交流不容易，一本書，一部電影《夏之庭》為例：日文書1992，電影1994；台灣書 1999，電影2025


  • 《夏之庭》作者湯本香樹實 1992，與電影The Friends (1994) 導演相米 慎二, (Sōmai Shinji,1948~2001) 是好友。我在2025年才看到電影
  • 《夏之庭》玉山 星月書房 1999  可能只有譯者林真美和 繪者楊麗玲 看過1992年的日文原版和插畫



  • ----

  • 英國數百位小學生合唱的魅力


我們最新的音樂推廣計畫在輝煌的伊利大教堂八角樓下，300 多名小學生盡情歌唱，達到高潮！ 🎶

在大齋期期間，伊利國王預科學校表演音樂主管克里斯·帕森斯先生走訪了伊利島小學、燈籠社區小學、伊利聖約翰社區小學和伊利聖瑪麗英國國教小學，為 3 至 5 年級的學生舉辦了充滿樂趣的歌唱和音樂工作坊。

最精彩的部分無疑是來自四所小學的學生和教職員工與伊利國王預科學校的三年級和四年級學生和教職員工一起在大教堂舉辦了一場音樂會。參與活動的兒童家人被邀請參加這項活動，活動中充滿了船夫號子、民歌和一些迪士尼經典曲目！ 🙌🏼

這場音樂會得到了我們預科和高級音樂和舞蹈部門的工作人員、Edmund Aldhouse 先生的支持；大教堂的音樂總監和伊利大教堂合唱團的唱詩班成員。

祝賀所有參與者。我們迫不及待地想看看帕森斯先生和他的團隊為他們的夏季學期音樂推廣計劃制定了什麼！

Hanching Chung

0:04 / 1:34
)

King's Ely──在伊利 (劍橋郡) 。

5天 
Our latest music outreach programme culminated in more than 300 primary school children singing their hearts out underneath the glorious Ely Cathedral Octagon! 🎶
During the Lent Term, Mr Chris Parsons, who is Head of Performance Music at King's Ely Prep, visited Isle of Ely Primary School, Lantern Community Primary School, Ely St John's Community Primary School, and Ely St Mary's CofE Junior School to deliver fun-filled singing and music workshops with pupils in Years 3-5.
The highlight was undoubtedly when children and staff from the four primary schools joined forces with Years 3 and 4 pupils and staff from King's Ely Prep for a concert in the Cathedral. Families of children involved were invited to attend the event, which was packed with sea shanties, folk songs, and some Disney classics! 🙌🏼
The concert was supported by staff from our Prep and Senior Music and Dance Departments, Mr Edmund Aldhouse; the Cathedral's Director of Music, and The Choristers of Ely Cathedral Choir.
Congratulations to everyone involved. We cannot wait to see what Mr Parsons and the team have planned for their Summer Term music outreach programme! 👏🏽
From Wikipedia, the free encyclopedia
Shinji Sōmai
Born13 January 1948
Morioka, Iwate, Japan
Died9 September 2001 (aged 53)
Isehara, Kanagawa, Japan
OccupationFilm director
Years active1980–2000

Shinji Sōmai (相米 慎二, Sōmai Shinji, 13 January 1948 – 9 September 2001) was a Japanese film director. He directed 13 films between 1980 and 2000 and was noted for his work within seishun-eiga, which include films such as the successful Sailor Suit and Machine Gun (1981) and critically acclaimed Typhoon Club (1985).

Career and style

[edit]

The most recognizable trademark of Somai is the use of long takes, creating a kind of rupture between reality and the inner emotions of the characters. The first 15 minutes of Lost Chapter of Snow (1985) is probably the best crafted long take of his career.

His film Moving was screened in the Un Certain Regard section at the 1993 Cannes Film Festival.[1] His 1998 film, Wait and See, won the FIPRESCI prize at the 49th Berlin International Film Festival in 1999.[2]

The Edinburgh International Film Festival artistic director Chris Fujiwara noted that American film director Nicholas Ray and French film director Jean Vigo shared Somai's sensibilities.[3]

Legacy

[edit]

Somai has been cited as one of the most important Japanese directors of not only his generation, but of Japanese cinema as a whole. His influence has been cited by Ryusuke Hamaguchi and Hirokazu Kore-eda as well as critic and theorist Shigehiko Hasumi.[4]

Japan Society presented the first North American retrospective of his work in 2023, which included the world premiere of Typhoon Club's 4K restoration.[5] In 2024, Japan Society would present Somai's Moving with lead actress Tomoko Tabata.[6]

Filmography

[edit]

Further reading

[edit]
  • Kimura, Tatsuya; Nakamura, Hideyuki; Fujii, Jinshi, eds. (2011). 甦る相米慎二 [Shinji Somai: A Film Director in the Japanese Post-Studio Era] (in Japanese). Tokyo: Inscrpit. ISBN 978-4-900997-32-5.

References

[edit]
  1. ^ "Festival de Cannes: Moving". festival-cannes.com. Retrieved 23 August 2009.
  2. ^ Elley, Derek (21 February 1999). "'Line' best in Berlin - Variety". Variety.
  3. ^ Dunn, Jamie (28 May 2012). "Forgotten Man: EIFF director Chris Fujiwara on Shinji Somai". The Skinny.
  4. ^ "Director Ryusuke Hamaguchi on Rites of Passage: The Films of Shinji Somai - Japan Society". japansociety.org. 6 April 2023. Retrieved 21 September 2024.
  5. ^ "Typhoon Club - Japan Society". japansociety.org. Retrieved 21 September 2024.
  6. ^ "Moving - Japan Society". japansociety.org. Retrieved 21 September 2024.
[edit]




『お引越し』（おひっこし）は、1993年（平成5年）の日本映画。原作は、ひこ・田中の同名小説。田畑智子のデビュー作品であり、桜田淳子の最後の出演作品である。

第46回カンヌ国際映画祭のある視点部門に出品され、公開から30周年の2023年には、4K デジタルリマスター版が第80回ヴェネツィア国際映画祭のクラシック部門で上映。最優秀復元映画賞を受賞した[1]。

あらすじ

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小学六年生の漆場レンコは、ある日両親が離婚を前提としての別居に入り父ケンイチが家を出たため、母ナズナとともに二人暮らしとなった。

最初のうちこそ離婚が実感としてピンとこなかったレンコだったが、新生活を始めようと契約書を作るナズナや、ケンイチとの間に挟まれ心がざわついてくる。

揺れ動く11歳の少女の気持ちの葛藤と成長を、周囲の人々との交流を通して描くドラマ。

概要

有一天，六年級學生漆羽蓮子的父母打算離婚，她的父親健一離開了家，留下她和母親奈津奈一起生活。


起初，蓮子無法真正接受離婚的想法，但她發現自己陷入了不安之中，因為她正處於擬定合約開始新生活的奈津奈和健一之間。


該劇透過11歲女孩與周遭人的互動，講述她的感情衝突與成長。

キャスト

[編集]



批評家評

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野沢尚は「桜田淳子はイイ女優だ。肩肘張って生きてきて、ちょっとぐらいの甘い言葉にはもう心は動かされない女をよく表現している。宗教問題で仕事からスポイルされるのだとしたら、本当に惜しい」などと評している[3]。評論家評論

野澤久評論道：「櫻田純子是一位優秀的演員。她很好地刻畫了一個過著積極向上的生活、不再輕易被甜言蜜語所左右的女性。如果她因為宗教問題而被剝奪工作，那真是太可惜了。」[3]




Moving (1993 film)

Wikipedia
https://en.wikipedia.org › wiki › Moving_(1993_film)
Moving is a 1993 Japanese drama film directed by Shinji Sōmai. It was screened in the Un Certain Regard section at the 1993 Cannes Film Festival. Moving.
Missing: FRIENDS ‎1994
Sep 21, 2021 — Three Japanese primary school boys, each marginalised and bullied at school for being slightly different from the rest, and hence all the tighter in their ...
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