Kathe Geist
Biographic Data
| ID | 6526841 |
|---|---|
| NAME | Kathe Geist |
| GIVEN NAMES | Kathe |
| FAMILY NAME | Geist |
| SIGNATURE | GEIST K |
| AFFILIATIONS | Koryo International College |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Sources for Ozu’s Dragnet Girl: A study in adaptation
Unique among his extant films for the sensuality it injects into its love story, Ozu Yasujiro's Dragnet Girl (Hijosen no onna, 1933) belongs to a period in which the director experimented with a variety of themes, styles, and content, often borrowing from American and German films. Established sources for the film include the gangster genre generally, as developed by American and German directors, Ozu's own Walk Cheerfully (Hogaraka ni ayume, 193…
Word and Image in Japanese Cinema
Word and Image in Japanese Cinema examines the complex relationship between the temporal order of linguistic narrative and the spatiality of visual spectacle, a dynamic that has played an important role in much of Japanese film. The tension between the controlling order of words and the liberating fragmentation of images has been an important force that has shaped modern culture in Japan and that has also determined the evolution of its cinema. I…
Buddhism in Tokyo Story
Early attempts to link Ozu's films with Zen Buddhist aesthetics have been joined by later efforts to link his work with traditional Japanese art forms, many of which were inspired by Zen. David Bordwell's objection to the early critiques – that they were too general and failed to take into account that Japanese aesthetics are varied and that Buddhism has changed its emphasis throughout Japanese history – is only partly convincing. True, the aesth…
Ozu's Tokyo Story
Ozu's Tokyo Story is generally regarded as one of the finest films ever made. Universal in its appeal, it is also considered to be 'particularly Japanese'. Exploring its universality and cultural specificity, this collection of specially commissioned essays demonstrates the multiple planes on which the film may be appreciated. The introduction outlines Ozu's career as both a contract director of a major studio and as a singular figure in Japanese…
The Cinema of Wim Wenders. From Paris, France to 'Paris, Texas'
English in non‐English‐language films
Since introducing a second language into a film is costly and inconvenient, the film‐maker's motivation for such ‘code‐switching’ must be compelling and presupposes that, within particular cultures, certain foreign languages have a significance in and of themselves that will be understood whether or not the particular words are understood. The English‐language motif in five non‐English‐language films is examined in the context of the cultural bac…
Yasujiro Ozu: Notes on a Retrospective
Research Article| October 01 1983 Yasujiro Ozu: Notes on a Retrospective Kathe Geist Kathe Geist Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1983) 37 (1): 2–9. https://doi.org/10.2307/3697303 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation …
No prominent works on this page.
Yasujiro Ozu: Notes on a Retrospective
Research Article| October 01 1983 Yasujiro Ozu: Notes on a Retrospective Kathe Geist Kathe Geist Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1983) 37 (1): 2–9. https://doi.org/10.2307/3697303 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation …
The Cinema of Wim Wenders. From Paris, France to 'Paris, Texas'
English in non‐English‐language films
Since introducing a second language into a film is costly and inconvenient, the film‐maker's motivation for such ‘code‐switching’ must be compelling and presupposes that, within particular cultures, certain foreign languages have a significance in and of themselves that will be understood whether or not the particular words are understood. The English‐language motif in five non‐English‐language films is examined in the context of the cultural bac…
Buddhism in Tokyo Story
Early attempts to link Ozu's films with Zen Buddhist aesthetics have been joined by later efforts to link his work with traditional Japanese art forms, many of which were inspired by Zen. David Bordwell's objection to the early critiques – that they were too general and failed to take into account that Japanese aesthetics are varied and that Buddhism has changed its emphasis throughout Japanese history – is only partly convincing. True, the aesth…
Ozu's Tokyo Story
Ozu's Tokyo Story is generally regarded as one of the finest films ever made. Universal in its appeal, it is also considered to be 'particularly Japanese'. Exploring its universality and cultural specificity, this collection of specially commissioned essays demonstrates the multiple planes on which the film may be appreciated. The introduction outlines Ozu's career as both a contract director of a major studio and as a singular figure in Japanese…
Word and Image in Japanese Cinema
Word and Image in Japanese Cinema examines the complex relationship between the temporal order of linguistic narrative and the spatiality of visual spectacle, a dynamic that has played an important role in much of Japanese film. The tension between the controlling order of words and the liberating fragmentation of images has been an important force that has shaped modern culture in Japan and that has also determined the evolution of its cinema. I…
Sources for Ozu’s Dragnet Girl: A study in adaptation
Unique among his extant films for the sensuality it injects into its love story, Ozu Yasujiro's Dragnet Girl (Hijosen no onna, 1933) belongs to a period in which the director experimented with a variety of themes, styles, and content, often borrowing from American and German films. Established sources for the film include the gangster genre generally, as developed by American and German directors, Ozu's own Walk Cheerfully (Hogaraka ni ayume, 193…
Art (5 works) · History (4 works) · Japanese History and Culture (4 works) · Cinema and Media Studies (3 works) · Movie theater (3 works) · Aesthetics (2 works) · Art history (2 works) · Japan (2 works) · Law (2 works) · Linguistics (2 works)