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Natalia Julia Nowak Akira. ... “Akira” Reżyseria:
Dauri refined her performance signature under the tutelage of Trisha Brown in New York, Akira Kasai in Italy, and Masaki Iwana in France.
“Between the silence inside the body and the music outside, an ocean of energy expands.” (Akira Kasai) Through this silencing of the body, the self totally blends with the music.
Systems Accent Acer Acoustech Acoustic Research Acoustic Solutions Action Adcom Addison ADL Admiral Advante Advent Adventura AEA AEG AGATH Aiko Aim Airis Aiwa Akai Akiba Akira Akito Akura Alba Albatron AlfaView Alkos Allorgan 0765 0065 0584 0065 0584 1367 1537 2218 1672 1431 1559 1297 1324 1695 1755 1573 1177 1551 1893 2083 1065 0678 0653 0681 0136 1245 2050 0918 2223 0121 1576 0904 1722 1641 1932 0065 0584 0634 1584 1065 1352 1400 1177 1191 2049 2124 2267 2194 2225 2157 1768 0065 0584 0063 1709 0908 0065 0584 0236 0726 0662 0634 0527 2325 1559 1861 2078 2133 1807 2223 2050 0729 0733 1932 1944 1533 1354 1441 0236 0584 0065 1470 1931 0840 0730 1963 0063 0580 0742 0516 0726 0743 0576 0508 0659 0206 0634 1065 0501 0676 1287 1276 2049 2053 2124 1755 1336 1893 0065 0584 2269 1271 0065 1906 0065 0584 0065 1715 1526 0584 0696 1695 1696 1239 1673 1798 1874 1613 0742 2010 1875 2011 1391 2267 1848 2169 2087 0065 1065 0584 0742 0398 0696 1696 0515 1932 0471 0579 1963 2025 1759 2078 2132 1893 0871 1234 0063 0234 2 Allstar All-Tel Amitech Amoi Amplivision Amstrad AmTRAN Anam Anam National Andersson Anitech Ansonic AOC Apex Digital Apollo Apro Arc en Ciel Arçelik Ardem Arena Aristona Art Mito Asberg Asda Astar Astra Asuka ATD Atec Atlantic Audiosonic Audioton Audiovox Audioworld Autovox Avious Avol AVP 0065 0584 0893 1297 1309 0683 1496 1877 1557 2114 0398 1918 0065 0390 0584 1065 0676 1932 1352 2010 1848 2169 2155 0065 0584 0678 0065 0584 0678 1191 1177 1613 0065 0584 0398 0065 0584 0696 0320 0439 1465 1932 1696 1874 1130 1393 1616 2139 2242 0121 0136 0206 0795 1245 0501 1874 0137 0742 0514 0742 0065 0661 0584 0065 0584 0065 1613 1848 2169 0065 0584 2154 1559 1576 0065 0584 1932 0726 1634 1756 0065 0584 0234 0065 0137 0584 1828 1336 1709 1731 0742 2078 2132 0743 0398 0514 2011 0514 0398 1965 1312 0726 2197 2200 0234 1662 1848 2169 1932 3 AWA Axion Axxon Azuki B&D Baier Baile Baird Bang &
Warto wiedzieć, że oczko wyżej znajduje się Tetsuo Shima z animacji “Akira”.
我楽王国 (Garaku Oukoku), Personal Assistant, Hamamatsu, Japan March 2014 Personal Assistant to Akira Sano, owner of Garaku Oukoku Farms.
Leader 1 300 T1/1 4/1 PETERHANSEL STÉPHANE (FRA)/COTTRET JEAN PAUL (FRA) PEUGEOT 3008 DKR 15h57m06s 2 309 T1/2 4/2 LOEB SEBASTIEN (FRA)/ELENA DANIEL (MCO) PEUGEOT 3008 DKR 15h59m03s +01m57s 3 305 T1/3 1/1 ROMA NANI (ESP)/HARO BRAVO ALEX (ESP) TOYOTA HILUX 16h08m13s +11m07s 4 307 T1/4 4/3 DESPRES CYRIL (FRA)/CASTERA DAVID (FRA) PEUGEOT 3008 DKR 16h11m07s +14m01s 5 303 T1/5 2/1 HIRVONEN MIKKO (FIN)/PÉRIN MICHEL (FRA) MINI JOHN COOPER WORKS RALLY 16h44m30s +47m24s 6 302 T1/6 1/2 DE VILLIERS GINIEL (ZAF)/VON ZITZEWITZ DIRK (DEU) TOYOTA HILUX 17h08m50s +01h11m44s +01h16m06s 7 308 T1/7 2/2 TERRANOVA ORLANDO (ARG)/SCHULZ ANDREAS (DEU) MINI JOHN COOPER WORKS RALLY 17h13m12s 8 316 T1/8 2/3 PRZYGONSKI JAKUB (POL)/COLSOUL TOM (BEL) MINI ALL4 RACING 17h15m08s +01h18m02s 9 314 T1/9 2/4 GARAFULIC BORIS (CHL)/PALMEIRO FILIPE (PRT) MINI ALL 4 RACING 18h05m26s +02h08m20s 10 318 T1/10 4/4 DUMAS ROMAIN (FRA)/GUEHENNEC ALAIN (FRA) PEUGEOT 3008 DKR 18h45m43s +02h48m37s 11 335 T1/11 3/1 BERNARD ERIC (FRA)/VIGNEAU ALEXANDRE (FRA) BUGGY BUGGY BV2-1 PROTO SODICARS RACING 18h50m51s +02h53m45s 12 322 T1/12 2/5 ABU-ISSA MOHAMMED (QAT)/PANSERI XAVIER (FRA) MINI ALL 4 RACING 18h59m18s +03h02m12s 13 319 T1/13 4/5 1 AL QASSIMI SHEIKH KHALID (ARE)/MAIMON PASCAL (FRA) PEUGEOT 2008 DKR 19h11m03s +03h13m57s 14 320 T1/14 1/3 2 RAUTENBACH CONRAD (ZWE)/HOWIE ROBERT (ZAF) TOYOTA HILUX 15 321 T1/15 1/4 PROKOP MARTIN (CZE)/MINOR ILKA (AUT) FORD F150 EVO BARROS SYLVIO (BRA)/CAPOANI RAFAEL (BRA) MINI ALL 4 RACING SCHOTT STEPHAN (DEU)/FIUZA PAULO (PRT) MINI ALL4 RACING FUCHS NICOLAS (PER)/MUSSANO FERNANDO (ARG) HRX FORD VAN LOON ERIK (NLD)/ROSEGAAR WOUTER (NLD) TOYOTA HILUX OVERDRIVE 16 339 T1/16 2/6 17 325 T1/17 2/7 18 323 T1/18 1/5 19 310 T1/19 1/6 1 3 4 01h11m00s 19h32m34s +03h35m28s 01h00m00s 19h40m45s +03h43m39s 02m00s 20h03m05s +04h05m59s 20h13m40s +04h16m34s 01h00m00s 20h25m23s +04h28m17s 20h33m01s +04h35m55s 20 338 T1/20 1/7 GUTIERREZ FLEIG ALBERTO RODRIGO (BOL)/RUBI JOAN (ESP) TOYOTA HILUX 20h47m41s +04h50m35s 21 330 T1/21 1/8 YACOPINI ALEJANDRO MIGUEL (ARG)/MERLO DANIEL (ARG) TOYOTA HILUX 21h28m22s +05h31m16s 22 324 T1/22 1/9 BULACIA MARCO (BOL)/BUSTOS CLAUDIO (ARG) FORD RANGER 23 329 T1/23 1/10 SILVA JUAN (ARG)/LAFUENTE SERGIO (URY) MERCEDES PROTOTIPO COLCAR 24 327 T2/1 2/1 25 334 T1/24 1/11 26 328 T1/25 1/12 1 01h00m00s 21h35m57s +05h38m51s 21h45m08s +05h48m02s +06h03m25s LAVIEILLE CHRISTIAN (FRA)/GARCIN JEAN-PIERRE (FRA) TOYOTA VDJ200 22h00m31s ARDUSSO FACUNDO (ARG)/SCICOLONE GERARDO (ARG) RENAULT DUSTER 22h03m32s +06h06m26s 2 JUKNEVICIUS ANTANAS (LTU)/VAICIULIS DARIUS (LTU) TOYOTA HILUX OVERDRIVE 23h08m10s +07h11m04s +07h12m53s 5 27 332 T2/2 2/2 MIURA AKIRA (JPN)/LICHTLEUCHTER LAURENT (FRA) TOYOTA VDJ200 23h09m59s 28 364 T1/26 S/1 2 3 VALLEJO JUAN CARLOS (CHL)/BARONIO LEONARDO (PER) TOYOTA HILUX 23h57m10s +08h00m04s 29 383 T1/27 S/2 4 PEREDO EDUARDO (BOL)/ARRIETA EUGENIO (ARG) TOYOTA HILUX 24h12m27s +08h15m21s 30 333 T2/3 2/3 BEREZOVSKIY DENIS (KAZ)/NIKIZHEV ALEXEY (KAZ) TOYOTA LAND CRUISER 200 31 341 T1/28 1/13 WILLEMS MAIK (NLD)/VAN PELT ROBERT (NLD) TOYOTA HILUX 32 331 T2/4 2/4 33 370 T2/5 2/5 34 348 T1/29 S/3 * 35 306 T1/30 2/8 36 346 T1/31 1/14 37 358 T1/32 1/15 38 340 T1/33 S/4 39 345 T1/34 1/16 40 390 T1/35 2/9 41 380 T1/36 1/17 5 6 7 02h00m00s 24h23m14s +08h26m08s 25h03m55s +09h06m49s FOJ XAVIER (ESP)/SANTAMARIA IGNACIO (ARG) TOYOTA LAND CRUISER 25h15m54s +09h18m48s DE LORENZO DARIO (ITA)/DE LORENZO ALDO (ITA) TOYOTA LAND CRUISER 155 26h03m43s +10h06m37s 26h17m34s +10h20m28s 30h14m35s +14h17m29s FERRAND MALATESTA FERNANDO (PER)/FERRAND DEL BUSTO FERNANDO TOYOTA FORTUNER (PER) AL RAJHI YAZEED (SAU)/GOTTSCHALK TIMO (DEU) MINI JOHN COOPER WORKS RALLY REINA ALICIA (ARG)/PELAYO CARLOS DANTE (ARG) TOYOTA SW4 ZHITAO HE (CHN)/ZHAO KAI (CHN) TOYOTA HILUX 12h20m00s 03h00m00s 30h49m46s +14h52m40s 33h38m21s +17h41m15s ESTEVE ISIDRE (ESP)/VILLALOBOS TXEMA (ESP) MITSUBISHI PROTO ARC 11h00m00s 35h41m39s +19h44m33s 8 BLANGINO JOSE ANTONIO (ARG)/GAGLIARDI LUCIANO A.
A Nihilistic Observation on Ran Lawson Jiang January 15, 2015 TA: Isabelle Carbonell Section D (11:45am) Hoile, Christopher, “‘King Lear’ and Kurosawa's ‘Ran’: Splitting, Doubling, Distancing,” Pacific Coast Philology 22 1/2 (1987). Penn State University Press: 29–34, accessed January 15, 2016, doi:10.2307/1316655. Hoile compares and evaluates the similarities and differences between Shakespeare’s King Lear and Kurosawa’s Ran . Through comparing the plots of the two epic works, Hoile thoroughly presents to whom are interested in discovering the relationship between the two work, such as the character settings and the similaryetdifferent plot structure as he points out that “the test of the three arrows replaces the lovetest in King Lear, but it is not equivalent to it” (p.30). While a majority of the articles found during the research focus on addressing how Kurosawa’s film is similar to King Lear — with detailed analysis of each characters in Ran to their correspondents in King Lear — Hoile brings up something different that makes his work stands out among the rest of the analytical essays, the cinematography of the film. He, however, talks about the cinematography with only a sentence commenting that the camera is “an impassive and literally distant observer” (p.29). Although his comment should include a more elaborate analysis from the cinematographic aspect, the short comment establishes a brand new idea that Ran carries a nihilistic tone throughout the entire film. This notion is also addressed in Roger Ebert’s updated review1 published on his blog in October 1, 2000. Roger Ebert, “Ran Movie Review & Film Summary (1985),” Roger Ebert (blog), October 1, 2000, http://www.rogerebert.com/reviews/greatmovieran1985 The notion of Nihilism brought up by Hoile receives a more detailed and interesting interpretation in film critic Roger Ebert’s review. Ebert writes: Roger Ebert, “Ran Movie Review & Film Summary (1985),” Roger Ebert (blog), October 1, 2000, http://www.rogerebert.com/reviews/greatmovieran1985. There are two entries of review by Roger Ebert, the first was published in 1985 and the updated was in 2000. 1 Lawson Jiang 1 He [Kurosawa] uses several static cameras to film the action, cutting between them; because his cameras don't dart and whirl, we are not encouraged to think of ourselves as participants but as gods, observing, taking the long view here and then a closeup look. (One shot, of a man holding his own severed arm, no doubt inspired the similar shot in Steven Spielberg’s “Saving Private Ryan.”) Ebert’s observation well matches with Hoile’s view on cinematography; omniscient yet impassive. Ebert argues that the spectators play the role of witness instead of participant through static and medium shots. During the fiveminuteslong battle sequence, a soldier holding his mutilated arm serves as one of the example, whereas Taro and Saburo’s sudden deaths after the two separate battles should be marked as the notable agents representing Kurosawa’s nihilistic thoughts. Taro, who is on his horse, filmed from a lower angle and placed in the middle of the frame, is suddenly killed by an arrow. Taro’s sudden death shocks those who presume him to be the figure of victory after the cruel battle. At the end of the film, Saburo embraces the same destiny just like his eldest brother — killed by an arrow — when riding the horse with his father, Hidetora. Hidetora dies of heart attack soon after he discovers his son’s death. To those who are used to dramatic and the socalled meaningful ending (bad guys fail and die, for example), Ran ends with a tragic yet boring scene. The bads die, so as the good ones. However, Kurosawa’s casual depiction of the characters’ deaths should be considered as an astonishing representation of nihilism. In the nihilistic sense, one should understand and expect that there is no good or bad nor there is meaningful ending for an individual. Death is not worth to be dramaticized. Therefore, the constant use of steady, medium shots and the omitting of closeups in critical moments (such as the death scene) provide a godlike role to the spectators. Yet, a godlike role provides a limited perspective to the spectators that lacks the ability to predict what happens Lawson Jiang 2 next. Instead of predicting what will happen, the spectators can do little but witnessing the incidents on screen. Though the test of the three arrows emphasizes “the breaking of a bond not between the father and his sons but the bond between the sons themselves2”, once the bond between the sons breaks, so does the bond between the father and his sons. Nobody can help but to watch the whole family collapses all because of the sons’ greed that drives them to divide their father’s “spoils like dogs tearing at a carcass.” In the end, the nihilistic reading of Ran is a story about an old lord decides to abdicate which triggers a series of catastrophes, eventually lead to a chaotic3 dividing and the downfall of his clan. Mitsuhiro Yoshimoto, Kurosawa: Film Studies and Japanese Cinema (AsiaPacific : culture, politics, and society) (Durham, NC: Duke University Press, 2000), Chapter 28. Yoshimoto comments Kurosawa as a “‘magnificent yet tragic genius’ who makes a gargantuan effort to present dynamic and perfect images on the screen4” due to the “extreme generalization and abstraction” of Ran . Yoshimoto, just like Ebert and Hoile, holds a similar observation: The scarcity of closeups and the extensive use of long shots render even principal characters abstract figures and, by preventing the spectators’ identification with them, create the sense of detachment that positions the spectators as distant observers of a drama of massive destruction. Sue, Jiro’s wife, is supposedly beautiful, yet without a closeup of her face, the spectators are not allowed to judge whether there is any validity in the statement asserting her beauty. Hoile, Christopher, “‘King Lear’ and Kurosawa's ‘Ran’: Splitting, Doubling, Distancing,” Pacific Coast Philology 22 1/2 (1987). Penn State University Press: 29–34, accessed January 15, 2016, doi:10.2307/1316655. Hoile 3 The title of the film, Ran , means “chaos” in Japanese. 4 Masumura Yaszo, “Sodai ni shite hiso na tensai,” in Kurosawa Akira shusei, vol 1, 626. Originally published in Kinema junpo, part 2 (May 1974). 2 Lawson Jiang 3 Yoshimoto believes that Kurosawa’s focus on decor and sets “transforms the film into a transparent surface without any depth… without any illusion of psychological depth.” Consequently, Ran , in his perspective, is a film with mere visual surface that lacks detailed depiction of the characters. What makes a generic commentary on a film is to comment with a notion of “indepth portraying of character(s) makes a good movie,” which is coincidentally similar to the belief that superhero films ought to be packaged with a dark tone that expose the superhero’s dark side due to the commercial success of the Dark Knight Trilogy5. The idea of “darker tone means a more mature plot means a better film” triggers a flood of superhero productions with a universal tone in recent years, which has formularized the taste of the audience to appreciate only grimmer films. Similarly, the compulsive belief of determining a film by only the character depiction eliminates the possibility of reading a film with an alternative philosophical doctrine. Ran could be less comprehensive in characters as Yoshimoto notes; however, it is a masterpiece in representing nihilism as it conveys a strong sense of helplessness of being a mere observer. Christopher Nolan’s The Dark Knight Trilogy , in which consisted of Batman Begins (2005), The Dark Knight (2008), and The Dark Knight Rises (2012), emphasizes the selfexploration and change of Batman (played by Christian Bale) from an ordinary millionaire to a hero enforcing vigilante justice. The commercial success of the series establishes a new genre of films; superhero movies. The dark tone of the trilogy, therefore, has been seen and adapted as a model of superhero movies by the production companies. Superhero movies with darker tone has become more welcomed in recent years, such as Iron Man 3 (2013), Man of Steel (2013), Captain America: Civil War (2016) and Batman v Superman: Dawn of Justice (2016). Collider’s interview with Russo Brothers on their upcoming Captain America regarding the tone of the film can be found on YouTube: https://www.youtube.com/watch?v=imIj_6uLQ4 5 Lawson Jiang 4
Films HD sur Disque Dur # 3 Prochains Jours (les) 4 Fantastiques (les) 5 Days of War 5eme Element 13 1001 Pattes 2012 A AC/DC - Live at River Plate African Cats Age de Glace 3 Agence (l') Agence tous Risque (l') Akira Alladin (HDTV) Alice au Pays des Merveilles Alien Aliens Alien 3 Alien 4 Alps (the) IMAX Alvin et les Chipmunks 2 Amadeus (Director's Cut) Amour c'est Mieux a 2 (l') Antartica Appaloosa Apprenti Sorcier (l') Arriety - Petit Monde des Chapardeurs (le) Arthur et la Revanche de Maltazard Artificial Intelligence Astroboy Australia Avatar Extended Version Avatar le Dernier Maitre de l'Air Azur &
All enjoyed the friendly atmosphere where they could view the equipment at leisure with expert information from Akira Hoshimoto of Teraoka Japan and Stefano Chiurco of Arka, Italy.
Silent Hill shattered memories is also important as it was the last installment in which Series' veteran music composer and producer of Silent Hill 2 and 3, Akira Yamaoka worked before his retirement from Konami;
Z drugiej strony, “Elfia Pieśń” również nie jest w pełni oryginalna, albowiem zawiera elementy zaczerpnięte z dwugodzinnego filmu animowanego “Akira” (reż.
Featuring Tomonori Ochikoshi and Akira Shimizu 7:30PM - 8:30P Dark Hose Manga it’s right after so why not 8:30PM 9:00PM Ryoka Yuzuki &
Soo Jin Na Choi, Hong Sung Chung,Hokyun Lee, Sang Young Chung Department of Surgery, Chonnam National University, Gwangju, Korea, 61483 Ming Qi, MD; Yan Wang, MD; Nai-Wen Tsao, MD From the Center of Vascular Surgery, Department of Surgery, Wuhan Asia Heart Hospital, Wuhan, China Wah Wah Lin, Robert Tewksbury, Jens Carsten Ritter Department of Vascular Surgery, Fiona Stanley Hospital, Perth, Western Australia Open surgery repair of an aortic stent migration after unsuccessful endovascular abdominal aorta aneurysm repair Inga ÄakoviÄ‡ Bacalja1, Lidija Erdelez2, Predrag PaviÄ‡2, Slaven 1 Department of surgery, General hospital Bjelovar, Bjelovar, Croatia SuknaiÄ‡2 2 Department of vascular surgery, Clinical hospital Merkur, Zagreb, Croatia PP02-38 02-38 258 Aortic Aneurysms and Aortic SANG BONG LEE Dissection PP02-39 02-39 261 Aortic Aneurysms and Aortic SEON-HEE HEO Dissection PP02-40 02-40 267 PP02-41 02-41 272 PP02-42 02-42 273 PP02-43 02-43 283 Aortic Aneurysms and Aortic SOO JIN NA CHOI Dissection Aortic Aneurysms and Aortic QI MING Dissection Aortic Aneurysms and Aortic WAH WAH LIN Dissection Aortic Aneurysms and Aortic INGA ÄAKOVIÄ‡ Dissection BACALJA South Korea China AUSTRALIA Croatia Japan A multicenter experience with abdominal aortic endograft infection in Japan Kentaro Matsubara1, Hideaki Obara1, Norio Uchida2, Atsunori Asami3, Taku Fujii3, Hirohisa Harada4, Koji Osumi5, Shintaro Shibutani6, Tsunehiro Shintani7, Susumu Watada8 , Shigeshi Ono9, Tatsuya Shimogawara9, Naoki Fujimura10, Yasuhito Sekimoto11, Yuko Kitagawa1 1. Department of Surgery, Keio University School of Medicine, Shinjuku, Tokyo, 1608582, Japan 2. Department of Surgery, Mito Red Cross Hospital, Mito, Ibaraki, 3100011, Japan 3. Department of Surgery, Saitama City Hospital, Saitama, Saitama, 3368522, Japan 4. Department of Surgery, Saiseikai Central Hospital, Minato, Tokyo, 1080073, Japan 5. Department of Surgery, Hiratsuka City Hospital, Hiratsuka, Kanagawa, 2540065, Japan 6. Department of Vascular Surgery, Saiseikai Yokohamashi Tobu Hospital, Kawasaki, Kanagawa, 2308765, Japan 7. Department of Vascular Surgery, Shizuoka Red Cross Hospital, Shizuoka, Shizuoka, 4200853, Japan 8. Department of Surgery, Kawasaki Municipal Hospital, Kawasaki, Kanagawa, 2100013, Japan 9. Department of Surgery, Tokyo Dental College Ichikawa General Hospital, Ichikawa, Chiba, 2720824, Japan 10. Division of Vascular Surgery, Saiseikai Central Hospital, Minato, Tokyo, 1080073, Japan 11. Department of Surgery, Tokyo Medical Center, Meguro, Tokyo, 1528902, Japan PP02-44 02-44 294 Aortic Aneurysms and Aortic KENTARO Dissection MATSUBARA PP02-45 02-45 295 Aortic Aneurysms and Aortic TAKASHI MURAKAMI Dissection Japan Mini Aortic Repair Takashi Murakami, Hiromichi Fujii, Yosuke Takahashi, Akira Depratment of Cardiovascular Surgery, Osaka City University, Osaka 545-0051, Morisaki, Shinsuke Nishimura, Daisuke Yasumizu, Yoshito Sakon, Japan Kokoro Yamane, Tohihiko Shibata PP02-46 02-46 299 Aortic Aneurysms and Aortic KYUNGLIM KOO Dissection South Korea Early experiences of the sandwich technique to preserve pelvic circulation during endovascular aneurysm repair 1Department of Surgery, Seoul National University Bundang Hospital, Seongnam, Kyunglim Koo,1 Hyung Sub Park,1 Daehwan Kim,1 In Mok Jung,2 Gyeonggi, 13620, Korea Taeseung Lee.1 2Department of Surgery, Seoul Metropolitan Government Seoul National University Boramae Medical Center, Seoul, 07061, Korea PP02-47 02-47 301 Aortic Aneurysms and Aortic LENNY SURYANI Dissection SAFRI Malaysia Clinical Audit: Outcome of open vs. endovascular treatment of mycotic Izzuddin A1, Vinoshini DK2, Siti Fareeda3, Lenny SS1, Tan Yee aortic aneurysms in two vascular centres in Malaysia Ling1, Syed Alwi3, Azim I1, Chew Loon Guan4, H Harunarashid1.