Search Details

Word: oshima (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

...Bowie picking up the pieces. They didn't quite fit yet, although the title track and Ashes to Ashes were two of his best songs. Let's Dance has all the consolidation and much of the restless peace that Bowie has been searching for. Says Japan's Nagisa Oshima, who directed Bowie in his upcoming film, Merry Christmas, Mr. Lawrence: "Let's Dance gives the impression that David really is free." This kind of freedom carries certain risks of its own, such as looking like a bisected square. "It's hard to say, 'Hey, you can be a nice...

Author: /time Magazine | Title: David Bowie Rockets Onward | 7/18/1983 | See Source »

...have always had it, and Bowie has always been as successful with a lens as a microphone. His appearance in The Man Who Fell to Earth was both a dissection of the Bowie mythology to that point and a portent of the bleak direction it was about to take. Oshima's Merry Christmas, Mr. Lawrence, to be released in America in the fall, casts Bowie for the first time in a heroic mold, as a neurotic but noble British P.O.W. in Java during World War II. Bowie is graceful and compelling in the part, with enough residual mystique to transform...

Author: /time Magazine | Title: David Bowie Rockets Onward | 7/18/1983 | See Source »

...Oshima added, "The freshman have been getting along pretty well. There hasn't been as high an attrition rate among the freshmen as there was among the upperclassmen...

Author: By Cynthia A. Torres, | Title: The Harvard Glee Club: Life After F. John Adams | 3/12/1979 | See Source »

...Mark Oshima '82, a first-year club member, said some older members have had problems adjusting to the new conductor, but said Marvin is "a very good conductor, and he does know his music very well...

Author: By Cynthia A. Torres, | Title: The Harvard Glee Club: Life After F. John Adams | 3/12/1979 | See Source »

...Oshima extrapolated the film from a real incident. In Tokyo in the 1930s, a prostitute concluded her love affair with a gangster by castrating him, then wandered the streets for several days carrying his severed sex organs. Haunted by Genet and Mishima, animated by memories of De Sade, Oshima splashes a devious course to this bloody resolution. He has the gangster and the whore coupling incessantly, in attitudes reminiscent of the delicate rough-and-tumble of erotic Japanese watercolors. The point of all this-that the full realization of passion is its own justification, that death is the ultimate orgasm...

Author: /time Magazine | Title: Cinema: More a Famine than a Festival | 10/25/1976 | See Source »

Previous | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | Next