James Updyke
29 October 2009
ALL 3456
There exists a distinctive tension between ethical reasoning and traditional Japanese values. Without a doubt, Japan faced a difficult period of changes caused by the loss of authoritarian power through war times. In 1962, Kobayashi Masaki’s “Seppuku” (“Harakiri”) challenges modern traditional government propaganda. Kobayashi, considered a liberal director, used his films to show ethical tensions and promote modernity and reason. In other words, Japanese traditions and customs can be seen as a direct reason for economic and social issues. If modern values and change were welcomed more freely, Japan could prosper. The stubborn hold on these traditional values could actually be the reason for Japan’s problems.
“Harakiri,” one of the “cruel-jidaigeki” films of the 1960’s, takes the audience back to older times where the shogun ruled much of Japan. The cruel nature of the film is used to convey Kobayashi’s message. As Standish writes, “the ethic of ‘bushido’ (the moral code of the samurai) is deconstructed as an outdated ideology of oppression in a society centered on material rather than humane principles.” (288). During the war period, principles of “bushido” were revived to show a message of duty to the emperor. Samurai were seen as symbols of these traditions, thus loyalty among the people to the Japanese empire was considered essential to custom. “Harakiri,” as a challenge to this system, shows the dark side of these traditions. The Ii clan, representative of Japanese traditions, enforces the “bushido” code and is shown to be corrupt and evil throughout the film.
The film’s ending provides a powerful and symbolic representation of traditional defiance. Hanshiro, the main character, takes up the large armor samurai and destroys it by throwing it to the ground. This armor set was shown in the beginning and end of the film to symbolize the Ii clan’s Japanese values. The eerie shrine was then destroyed in one fluidly powerful gesture. Standish writes this scene as “symbolic of his [Kobayashi’s] attack on the ideology of ‘bushido.’” (289). Although very dramatic and, at times, disturbing, “Harakiri” shows the need for change and acceptance of modernist values into the traditional world of Japan.
The film for the week, hara-kiri, was absolutely amazing. The whole thing is just one big mind screw, you think you know what they main plot and idea is, but instead it changes constantly. This movie does something to your insides after hearing the entire story Motome, Miho, and Kingo. They’re story makes your insides cringe, from the sheer disgust you feel from the samurai in the film. This idea in this film seems very original, I haven’t seen a film like this with same theme. The ideas in this story about the lord, main characters, and the main characters family, are there to make you think, and the theme that shows up is definitely one of look before you leap, to conclusions. The fact that the movie was in black and white was another really good touch to the film, it made you believe that the film was older than it really was. The end of the film where the main character is throwing the topknots of the three samurai responsible for humiliating his son in law was brilliant. The idea that the main character knew going into this that he wouldn’t die by hara-kiri and that he would disgrace the entire house in which he asked to commit seppuku. When I saw topknots thrown out from his garments, and then he laughed hysterically, like a maniacal madman, I thought to myself, this is where he makes his last stand. The fact that he was killed by means other than the sword and that he had disgraced 11 soldiers, and killed 4, in which the 11 had to commit seppuku was a brilliant act. If word got around to the other clans and the shogun of what had happened there the lord might have been disbanded himself. That is the reason why in the end they change the story calling for the 11 to commit seppuku and saying that the main character actually committed seppuku on the lord’s grounds, rather than killed by his lackeys. Over all the movie was awesome, and as a note, this movie was not bloody/gory, there was some necessary violence, but there is no way to explain the pain and anguish of the characters without showing some. To say that a movie is gory, is to be watching a movie that deliberately shows more blood/violence than is necessarily needed. This movie did not, and to believe so means that any blood/violence shown in a movie automatically makes it gory. I do not agree with that idea of thinking and believe that the movie had an adequate amount of violence and blood to visually stimulate the mood and thought in the movie.
Week Eight Position Paper
Japanese Film
By Eric Michelson
When I was watching the movie Hara-kiri I noticed that it went in line with something I was doing in another class. In a Japanese literature class we are reading about to code of the warrior, bushido. I kept this in mind when I was watching the movie, because the actions taken in the movie by tsugumo and chijiiro were more of less in line with the tenants of bushido. Expect of course Chijiiro attempting to get money from the iyi clan by threatening hara-kiri, but the reasons that he tried to do it were honorable.
The actions of the iyi clan were dishonorable, but only to a point for the majority of the movie. When the movie started we saw the hon elder taking tsugumo into the house and telling him the story of chijiiro. When we heard this story it appeared that chijiiro was the bad guy and the house of iya was in the right. As the movie progressed we came to understand the reasons that chijiiro was doing this and his back story and we began to see that despite the dishonor that came with chijiiro threatening hara-kiri, we see that the house of iya was in the wrong as well. But the full extent of the dishonor of the house of iyi was not seen until the end. When tsugumo sought revenge and eventually committed hara-kiri we see that this stained the honor of the house of iyi due to their in appropriate reaction to chijiiro threatening hara-kiri. When the end comes and we see the hon elder basically ordering of cover-up of what happened to we began to see that all of the honor of the house of iyi is a lie. Tsugumo was right honor for the samurai just glosses the surface. There is a scene at the end when it is showing the building in the wake of the hara-kiri of tsugumo when we see the emblem of the house of iyi that decorates a door stained with blood. This symbolizes that the honor of the house of iyi is stained with blood. A subtle remark but powerful.
Harakiri is a movie within the jidaigeki genre. It is more specifically called a cruel jidaigeki and depicts ronin in the Tokugawa shogunate. It shares common themes with pre-war jidaigeki, like Orochi, such as black and white, being set in feudal Japan, a focus on samurai. However, jidaigeki after the war have new film techniques to use that allowed them to depict higher levels of violence. The theme of Harakiri is that the ritual of seppuku is a cruel one. Standish puts it like this, “bushido is deconstructed as an outdated ideology of oppression”. This can be seen very clearly in Harakiri. When Motome is not allowed to have a couple of days to put his things in order before carrying out the ritual he is forced to use the only blades he had, ones made of bamboo, to cut open his belly. This, I think, directly symbolizes the cruelty of the ritual as bamboo is not very sharp and cutting open your belly with it is tortuous. Standish also points out another symbolic act at the end of the film. This is when Tsugumo throws the samurai armor on the ground in front of the Ii clan samurai and Benosuke. This, Standish points out, represents Tsugumo’s contempt for the ideology of Bushido. Then, at the very end of the film we see that the armor is back on its pedestal, everything is in order. Standish says that this shows “the bushido ideology’s ability to withstand such attacks by individuals.” The way that Kobayashi “deconstructs” bushido is by showing the edges of it. He does this by showing how anxious the Ii clan becomes when Motome first tries to delay the ritual and then when Tsugumo successfully delays it for some time. Instead of allowing Tsugumo to finish his story, Benosuke wants his samurai to kill him and then record it as seppuku in the clan records. To me, this shows how the ritual of seppuku is used as a political weapon. When the shogun takes control of a domain and puts samurai and others out of work he probably does not want those ronin to be wandering and making trouble for him. I think that this is part of the practical value of the ritual itself to whoever is in power.
Week 8
In the film Harakiri I felt that it was very acceptable for the film to go back to black and white (even though some classmates didn't appreciate it). Similar to the reading I felt it was suitable for not only an aesthetic sense(s) but also because the director, Kobayashi was trying to question the values that post war Japan had. To question these norms and values, he had to go back to pre war (feudal) Japan. It is here that the plot to the story beings and Kobayashi questioning the norms of society, more so with the samurai, and the bureaucracy classes. In the film, a former samurai calls the samurai superficial and tending to only the outer appearance of being a “superior” being, when people are watching. He does so by removing three of the lyi (clan) samurai’s topknots of hair (a sign of honor) and giving them to their master. The three samurai refuse to show up at the suicide ritual, because they know that they will be dishonored (based on something superficial). This foreshadows what will be significant at the end (of the film), when the master covers up what would be a great embarrassment to his family name, after the main character (the ex-samurai) has killed several other samurai and injured eight more. The servant is supposed to address this to the public, but he hesitates and is insulted by his clan master. The servant now understands what the ex-samurai meant by being “superficial”.
One thing I didn't comprehend fully was the ancestor samurai. I understand the tradition behind it, but why did the movie stress such an importance when the ex-samurai fell into that room (maybe his dead ancestor spirits?)
I have seen Harakiri before this class and it was a pleasure to see it again. I enjoyed watching the movie again mostly because of the knowledge of Japanese history that I have gained while in college. Before when watching this film I just saw Tsumugo as a badass with a grudge, now I see can see the critique of the Tokugawa government as relating both to the time the movie was set and when the movie was made. I also got a chance to take another look at the cinematography and direction in comparison to other samurai and jidaigeki films. Harakiri falls into the “cruel” samurai genre and I can see how it differentiated itself from previous movies involving samurai. For one the fight scenes in Harakiri are much more realistic, with their use of blood and paring down the length of duels. However they still tended to be on the over dramatic side with our hero enjoying impossible good fortune. The final scene now reminds me of the final scene of Orochii. As well the story of the main character who's life goes from bad to worse, jidaigeki standard, can be seen in Tsumugo's plight. Although in this movie our hero is allowed victory, albeit a grim one. Also this movie is still in black and white, reminiscent of the older jidaigeki on the surface, is now used as a tool to further the emotion impact of the film. Blood now takes on a central role in conveying emotion. We can see this in scenes such as when the young man commits harakiri in the beginning, his black blood a sharp contrast to the white funeral robes he is wearing and when Tsugumo cuts down a member of the Iyi clan and as the man falls he smears his black blood over the Iyi house symbol. Lighting is also more pronounced, such as the soft spot light illuminating the bodies of those who have committed harakiri.
Kobayashi Masaki’s Harakiri is an interesting commentary on the samurai tradition in Japan. The film takes place at the beginning of the Tokugawa regency in the early 17th century, at a time when many samurai are becoming obsolete and displaced as the shogunate consolidates its power and Japan experiences a prolonged period of peace after a pivotal civil war. Conversely, Harakiri was released nearly a century after the samurai class/status controversy came to an official close with the abolition of the rank all together, early on in the Meiji period. With this in mind, it is reasonable to assume that Kobayashi must have intended for his film to either use the social conflict of the samurai as a metaphorical representation of social issues plaguing Japan in the post-war era or he may simply have been abiding by throwback jidaigeki genre conventions in this cruel jidaigeki film.
The story/explanation that ronin samurai Tsugumo Hanshiro gives to the Iji clan elder eventually culminates in Tsugumo’s severe criticism of samurai ideals. Being a displaced samurai himself, he is suggested to have only continued living after his displacement out of obligation to a friend to take care of his son. This young samurai man, Motome, goes on to marry Tsugumo’s daughter despite the financial implications and his pre-existing plight. After having his subsequent son and wife fall ill, Motome goes to extremes such as selling his swords and feigning a desire to commit harakiri to make ends meet. Tsugumo later condemns himself for not even considering going to these same lengths for his family out of his sense of samurai pride and honor. He tells the clan elder that in a crisis, Motome set aside his samurai status, which had in fact only contributed to his plight, in an effort to help his family.
Harakiri, as a cruel jidaigeki of the 1960’s, was in direct competition with yakuza films, the other popular genre that targeted a similar male audience at the time. In response to the popular motif of ninjo versus giri, Kobayashi’s film offers a similar conflict in the form of Motome and Tsugumo’s struggle between adherence to their samurai ideals (giri) and loyalty to their family and dependents (ninjo).
What was especially interesting to me in the film was the use of mid and wide shots in the film, especially during critical points in the film’s plot. Standish’s arguments that the sets, specifically walls, courtyards, internal and external corridors, trapped and confined characters of cruel jidaegekis seems prudent when seeing that almost every tracking shot, whether it be the setting when Motome was preparing for a meeting with the Clan Elder, the tracking shot from the youngsters to Tsugumo and Jinnai, the tracking shot just before Bennosuke calls for more retainers to surround Tsugumo, etc., seems to set a snare around the characters in question, as Motome must commit suicide in front of the Ii clan or be cut down, or as Tsugumo must deal with the entire Ii clan in telling his story before attempting to fight them off, or during the final fighting scene when Tsugomo must defend himself from attack.
It appears that close-up shots, specifically close-ups shot from below the subject more often than not, are used not only to create the tension of the moment, but stress the unfairness of the culture in which the characters live, such as when Motome is attempting to disembowel himself, or the rattling shots of the Ii ancestral armor in the first minute of the movie. An interesting example of this is when the Ii retainers had brought back Motome’s body to his family, and while the retainers are extolling the virtues of the samurai, a close-up of Kingo is featured, a towel drapped on his sick forehead. I thought it was a particularly effective use of the cruel jidaegeki theme of trapping innocents in unfair and morally indistinguishable circumstances. This play on the normal practice of close-up shots during moments of tension worked well, as the standard close-up shots were easily distinguishable from the ones that served to stress the key moments of “unfairness” in the movie. The shots of the Ii house records are definitively in the latter category, although the meaning behind these close-ups is sheltered until the very end, when all account of the incidents are to be hidden away.
-__- sorry for e-mailing mine two seconds ago...this wasn't showing up so~
Well, first off I have to say this movie made me cry. I’ll fess up. Seppuku, I would argue, has been the wildest emotional ride this entire semester, exhibiting perhaps the strongest and keenly aimed jabs into the psyche. Previously, we had seen the samurai’s death in Rashomon as the build up of a monologue, close-ups and finally the distant shot of him plunging the knife into his chest. Then it cuts off to the medium. The viewer is instantly ripped out of any emotional buildup, cut short and left caring less then they could. No such emotional distancing is allowed in Seppuku. Honestly, I almost had a panic attack during the wind up to Motome’s bamboo hara-kiri with echoes of trapped trapped TRAPPED screaming in every aspect of the shot. And this feeling never let up. It dragged you kicking and screaming, with no hope for escape, no matter how desperately Motome (and the viewer) may be looking. Every blood splattered second, each squelch and pant, is down right horrifying and gut wrenching. It not just a matter of the gore, but the mental state that is in fact the hardest part to swallow. To do that to yourself, with a blunt instrument no less, is not a sane thing, but a thing of nightmares (and movies like Saw) and thus something we want to run screaming from. It isn’t going to be the quick jab of Rashomon, oh no.
Then the flashbacks go further back, another breakneck turn in the emotional roller coaster. Certainly, we’ve seen our variety of flashbacks, but it made for a horribly perfect path to utterly disillusion the viewer. Seeing the peaceful life of Hanshiro makes all that comes that much more horrible as the future hovers like a dark cloud over the viewer. His past taunts the viewer, giving him opportunities to be a man we could hate and find his current situation acceptable but instead digs a deeper and deeper pit. He takes on the care of his friend’s son despite the hard times. He refuses to sell off his daughter, which would have been a downer, but certainly not as completely depressing as the final path. It goes back to the trapped feeling, this knowledge that doom cannot be avoided. At this point, I wasn’t surprised to find vindictive, and borderline maniac, pleasure at Hanshiro’s tales of the samurai and the topknots. Horror followed by hysteria and hopelessness work wonders on one’s psychological state. Wonderfully played on Kobayashi’s part.
Placing the plot aside, the next greatest factor for emotional strength rested in the actors’ eyes. As corny as the phrase ‘pathway to the soul’ has become, I’ve always felt eyes are what makes the character. They certainly were not ignored by Kobayashi. Dark smudges bruised and emphasized Motome’s during his times of desperation, giving him a thin stretched man at the end of his endurance. Close ups capture their frantic back and forth motions, connecting deeper with his panic, his need to find a friendly face in the crowd. Hanshiro’s eyes were arguably the most soulful of the lot, often wide and gleaming with reflected lights. It felt like the big friendly dog next door…and you were watching it being kicked to death. The eyes of Miho felt somewhat alien beneath her shaved brows, but the close-up of her empty eyes fixed on the body of her husband is a easy read.
I thought that Harakiri was an interesting movie. Far more graphic than
anything we’ve seen before, this film showed that the Japanese directors
were very capable to creating gory movies. The scene in which Chijiiwa was
forced to kill himself with dull bamboo blades was almost too much to
watch. On the other hand, this brutality allows the viewer to see the
cruelty of the feudal system and how it victimizes the people. The Ii
household is revealed to be a hypocritical example of the ruling class,
forcing those less fortunate to suffer. The clan reveres honor, yet shows
themselves to be dishonorable when they force suicide on a poor man trying
to get charity for his sick wife and dying son.
Coincidently, it is the ronin who shows more honor and distinction
than the employed warriors throughout the film. Tsugumo relates his story
to the Ii house in an attempt to teach them the error of their ways. In the
end, they do not listen and Tsugumo is forced to cut them down before
falling to his own demise. Most of the film takes place in the courtyard as
the Ii clan listens to Tsugumo’s tale.
Tsugumo is isolated from the Ii clan, placed in the middle of courtyard so
that they may witness his honorable death. His isolation is also a symbol
of his retained honor, even when unemployed, that differentiates him from
the other warriors of the Ii clan. Director Kobayashi depicts this
separation through his usage of camera angles and lighting. Tsugumo appears
to be highlighted as he sits on a white mat, the other warriors lurking in
the shadows of the courtyard. The distinction between light and dark is
very clear in these scenes and alerts the viewer to the differences between
Tsugumo and the other warriors.
This film was very interesting in that it revealed more of a history of the
people of Japan as a whole rather than just the tale of one unfortunate
man. Kobayshi’s belief that reason should preside over tradition makes
itself known in Tsugumo’s arguments about the Ii clan’s treatment of
his son-in-law. The Ii clan held honor above everything, even mercy. This
rationalization of tradition is hypocritical in that it went against the
Buddhist ideals of the samurai. Thus, Kobayashi’s implicit criticisms on
Japanese traditions were revealed through Tsugumo’s arguments and his
tragic tale.
Overall, I thought this was a good movie. The storyline seemed to drag in
places, but once all the pieces were fit together, the movie made a very
dramatic impact and was a very compelling critique of the Japanese feudal
system.
I felt like Harakiri has a very distinct Japanese narrative style. I’ve noticed that the more traditional themed movies we’ve viewed have elapsed over a long time than the others ones (2 + hours) because the Japanese narrative is slow to unfold, but this does not make it boring or unexciting. It’s a sort of suspense that must be built up and suddenly your paradigm is shifted. Like when Chijiwa was forced to commit seppuku, the lack of background story made it appear that yes, this was an imposter samurai looking for honor or money and then backing out of his promise to commit it. The audience thinks lower of him because we see ‘weakness’ (not to mention I couldn’t watch part of this, it was gruesome, bamboo swords…) in the way he nervously and hesistantly takes his life. When the newcomer to Iyi, Sugumu requests the same thing, he finally admits he ‘knows of him’ which is an understatement. The story unfolded through flashbacks and oral narrative, along with black and white filming. I think these aspects help make it feel like a ‘true’ samurai film. I also feel like if it was shot in color, it would be too strong for an audience of that time due to the violence and amount of blood. By having it devoid of the harsh red color, we can tolerate it while still be horrified by the battles at the same time. Sugumu was caught in what I like to call ‘dominos of dishonor.’ First Chijiwa is unjustly forced to commit seppuku without leave like he asked “for surely there must be a reason he asked this.” Therefore, instead of just letting Chijiwa dishonor himself, they made sure he followed through with his promise. This caused Sugumu to piece together his death after he loses his family and enact revenge for the act. By cutting the top knot off of his enemies, he does greater than killing them and has forever insulted them. The Iyi clan cannot handle that he takes down 4 men, injures 8, and took the top knots of 3 others. Not only does on kill himself because of the dishonor, but the other two will be ordered to. The movie closes with the Iyi leader re-writing their history because they have been so disgraced he cannot fathom if this gets out, insisting many died of hara-kiri and illness. The sort of ‘stillness’ throughout the first three fourths of the film is countered by high action sword fighting at the end, to seal off a strong Japanese-ness felt in Harakiri.
In class we learned that Masaki Kobayashi’s 1962 film Hararkiri (Seppuku in Japanese) is intended to be a cautionary tale. It is a reaction to a semi-national feeling that Japan should return to the “good old days” because modern Japan is not really Japanese, and that is what is causing so many problems in society.
I think that the method Kobayashi used was extremely affective. He chose to format the film in the traditional jidaigeki manner. He chose to do it in black and white, like the traditional ones. Why this was effective was because jidaigeki is one of the oldest forms of Japanese cinema. Many of the films from the past really romanticized the Tokugawa era of Japan. Films like Kurosawa’s Seven Samurai shows the romantic aspect of the time, showing the samurais compassionate side and how well their rule and tradition protected even the lowliest members of society.
This false picture of happiness is not present in Harakiri. Kobayashi uses a more realistic filming style to show that the era was not all compassion and happy-go-lucky times. It was a time of war and extreme violence. An example of this is the final fight scene.
Although the cinematography is still very stylized and aesthetically pleasing, it portrays battles in a way different then most of its predecessors. The sounds are much more striking because it sounds like steel on steel, and the screams are more terrifying because they are not over dramatic as they have been in past moves. Something has changed in the way the movement of the fight is done. They seem much less choreographed, and due to that more plausible. They are not always the honorable battle anymore either. In the final battle scene, there is a low shot where sand is thrown into the eyes of a competitor, as the man struggles to stay in the fight. It is not fantasized sword work, the struggle of a human. Also how people look when they are wounded is rather jarring because if its connection to reality.
By using a traditional form for his social commentary, Kobayashi created something that could appeal to the masses. The genius however lays in the fact that he used realism and cinematography to show the actuality of the time period and help shatter the romantic notions that nostalgia and failure in the war had created. In essence it was an effective criticism because it was clear, but not overly aggressive in its presentation.
Thomas James Nosbish
All 3456
Japanese Film
Position paper
Harakiri
Masaki Kobayashi's Hara-kiri is a story about a ronin and his request to commit hara-kiri. The ex warrior or ronin Hanshiro arrives at the gates of Iyi Manor, asking to use their courtyard to be given a samurai's death the action of Harakiri. Kageyu Saito, the lord of the house, recalls a story about a ronin who previously came there requesting hara-kiri under false pretenses. Saito pressed the issue and refused to let the ronin back out, forcing him to commit suicide. Saito tells this story to ensure that Hanshiro's intentions are sincere. It was quite a gruesome scene in which the samurai failed to draw his blade upwards to fiish the ritual and bite off his tongue in disgrace. After determining that Hanshiro actually intends to complete the ritual, Kageyu Saito grants Hanshiro the final request of telling his story so that others may benefit from hearing a dying man's last words. Hanshiro's plight is an indictment against the bureaucracy, hypocrisy, and false sense of honor that the samurai cling to so tightly. Realizing his true intentions, there is a glorious ending with large battle, ending with the Lyi clans symbol of power being disgraced by Hanshiro.
The screenplay of this film is so immersive that it would seem pointless to question its historical accuracy for it plays very closely to that of Traditional Japanese history and customs.. Also, the idea of exposing the hypocrisy and corruption within the ruling class is universal. Hanshiro has every intention of killing himself, but only after his point has been made. The visual effects of the film from the crude attempts at gore, and the non-diegetic music were well placed in the film. Blood was only used about four times in the film and during each harakiri scenario. This gave the blood in the film meaning, not just for a shock value.
Overall the film did portray political themes that still could relate to modern times. The notion of the administration and the roles the clans were both interesting concepts, that I would like to look further into.
I really enjoyed watching the film this week. The film was Harakiri and it was about how peace in the 17th century Japan caused many of the Shogunates to break-up the warrior clans and make thousands of samurai unemployed and forced them to live in poverty. Many of these unemployed warriors had only one answer to this and that was the honorable ritual suicide of hara-kiri. A wondering samurai named Tsugumo had come to perform hara-kiri and wanted assistance by the Iyi clan. You later find out that Tsugumo is trying to avenge the death of his son-in-law and try to prove that he was killed in a very dishonorable manner. This critique of Japanese social customs and traditional customs was a common theme in many of Koyashi’s films. Throughout Harakiri you get the feeling that honor, tradition, and codes are constantly being challenged and brought into question. By the end of the film right before the epic battle scene Tsugumo throws out the top-knots of the warriors that had disrespected Chijiiwa by having him use his bamboo swords, which he had to use because Chijiiwa sold his real blades so as to get money to help take care of his dying wife and deathly ill son. Taking the top-knot off of a samurai is one of the most disrespectful things you can do and by doing so you are almost forcing them to commit hara-kiri themselves. This contrast between the unwavering ignorance towards tradition and the idea of reason also had an important impact on Japan in the real world. During the 60s Kobyashi had a sense that there was something wrong with Japan and its traditions. To Kobyashi reason was modern, so if Japan wanted to become more reasonable and not blindly follow lost traditions, Japan would have to become more modern. Throughout Kobyashi’s work even in Harakiri you can see that those traditional values often keep some sort of virtue and honor, however they are more often than not being used for the exact opposite purpose of what they stand for. This could be seen in the film at the end when the Iyi clan has to lie about the death of Tsugumo and force his men to perform hara-kiri on themselves. Overall Harakiri has definitely been one of the better films I have seen in this class this semester.
Its very interesting to think of how star systems work, and more interesting to think that pop culture stars, not the people themselves mind you, but the presence of stars at all, is a trait that is universal across all countries (the ones civilized to the point that they have advanced media like cinemas, television, etc.). They aren’t inconsequential either; to simply dismiss a star as a provider of entertainment would be to oversimplify their effect on culture, but so too would it be to claim that they are definers of generations. There is a subtle balance and a subtle influence that cannot be ignored. In class we discussed the effect of Elvis on an entire generation of Americans; they came to identify much of themselves with the image he came to embody. I realize this is a fine line to walk, I find myself teetering between what could possibly be considered academic observations, and pure conjecture. But the issue still demands to be addressed; what effect do our stars have on our culture? Raine brings up interesting occurrences and examples about Yujiro’s effect on Japanese culture. Yujiro sang, acted, appeared on stamps and huge posters, and defined fashion. In other words, you could find him everywhere, infiltrating every aspect of life. Does this mean Yujiro defined a generation? Did his roles in cinema set the model for youth, or were they merely reflections of mentalities that already existed? Raine notes that after he became famous, his style was adopted by many of his fans; for example, fans began wearing jewelry and speaking and walking like him. We could assume that the question is answered then, but that does not take in to account the position Yujiro was coming from and where he got his ideas, nor if they even were his. Remember that media (more specifically, media companies) work in mysterious ways; perhaps much of his “style” was not his to begin with. The biggested reason I’ve called this in to question, is because we must remember that he had to soften his “bad boy” image before he ever had a shot at being famous. Who was the real Yujiro anyway? Theres a strange blending here between the screen personality and the real personality; its inevitable for any really big star. Plus, it's a chicken and egg complex; there probably really isn’t any answer, but its nonetheless something that was brought to the forefront of my mind upon reading Raine’s article.
Harakiri takes place during the Edo period, telling the story of ronin Hanshiro Tsugumo who is unable to perform harakiri after his lord has died due to the fact that his lord had ordered him to stay alive so that he could take care of his daughter, son-in-law, and grandson. The start of the film opens with Hanashiro arriving at feudal lord Kageyu Saito's home, looking for a suitable place to commit harakiri. When he announces this, Kaegyu Saito warns him with a story. Earlier in the year another ronin, Motome Chijiiwa, had come looking for a place to commit harakiri as well. They called his bluff and upon discovering that his sword was actually only made of bamboo, still forced him perform harakiri, leading to a slow and painful death. Despite this, Hanshiro insists on ending his life.
While preparing for his suicide, he recounts his life, explaining how his lord had been a threat to the shogunate and so was disposed of. His friend performed harakiri, taking his own life, and left his son, Motome Chijiwa, for Hanshiro to take care of. With the responsibility of his own daughter, Miho, and now his friend's son too, he could not end his life the honorable way and so he continued living on, supporting them even though all he could give them was a life of poverty. When the two children were older, they got married and had a son named Kingo. They still continued to live in poverty. Miho and Kingo fell ill and so Chijiiwa devised the plan of committing harakiri at a lord's house. After his death, Miho and Kingo died from their illnesses.
Earlier in the film he had tracked down retainers he believed responsible for the death of his family, and so humiliated them by cutting the top knot of their hair. It is after he finishes his story do the lord's retainers attack him. Though there were more of them against him, he succeeded in killing and wounding several but in the end, he could no longer avoid his own wounds. He attempts to commit harakiri to avoid being killed by them but is, nonetheless, still shot.
The ending itself is symbolic for the ending of the Edo period and it turning into the Meiji era. The fact that even though he tries to kill himself, he is still shot and killed symbolizes the rise of industrialization in Japan, represented by the gun. Hanshiro represents the “japanese” lifestyle through his being a samurai – a ronin but still a samurai – and through his life ending not by another sword but by a gun, it is symbolic of the Meiji and industrialization arriving and ending the Edo period.
A major theme in "Harakiri" is the issue of honor. Hanshiro's character was centered on upholding tradition and the bushido as a former samurai. He tries to be righteous in his actions. For instance, Hanshiro refuses to marry off his daughter to someone of poor character that would treat her badly just so that they would be financially better. This shows his honor in valuing personal treatment or acknowledging how others treat you as a measurement of respect versus having money and power by association. But it wasn't just the samurai code, honor and formality in general were important or maybe that is part of the bushido. It isn't really specified in the film. In the beginning, Motome teaches children lessons of Confucianism like "ignorance of etiquette means failure." And in conversations with Hanshiro, he talks about how disgusting it is that warriors would disgrace themselves and the ritual to the point of threatening for money. Yet, his dire circumstances force him to stoop to the same lowly act as a very last resort to save his family.
"Harakiri" becomes a questioning of the morality and honor of people but more specifically those within the feudal system. Hanshiro criticizes the feudal lord for only having superficial honor, which is shown to be true by the way he constantly hides behind others and his forcing the samurai to kill themselves out of stinginess. The feudal lord isn't even there to witness the massive fight between Hanshiro and the retainers; he just listens to the clashing from a safe empty room. He doesn't allow real respect towards the samurai that are performing a sacred ritual. He has no hesitation at ordering the death of others.
I thought it was interesting that during the scene where Motome's dead body is returned, Hanshiro sort of renounces upholding samurai morality. He feels foolish for holding onto his sword, "the soul of a samurai," when it's just a frivolous object that has become a symbol for the lives they used to lead but no longer has any real meaning. Hanshiro seems to abandon being a part of the samurai class but I'm not sure if he continues to hold on to his morals or not. At one point he says that "a good samurai doesn't give up the fight" and he is relentless in his final battle. Plus, he's very formal and proper in his conversations with the feudal lord. However, his perseverance at the end could be more about him having nothing left to lose by fighting all out. Hanshiro said to the feudal lord that he was eager to see Miho, Kingo, and Motome again. I think he doesn't completely lose upholding the bushido because of the way he conducts himself at the end but he is still enacting a plan of revenge.
The cruel jidaigeki films of the 1960’s were markedly different from the jidaigeki films of the past. Standish (287) notes the major stylistic changes that emerged with the cruel jidaigeki genre: black-and-white film to portray realism, voice-over narration, attention to “depth of field”, and action scenes characterized by speed and blood. Kobayashi Masaki’s 1962 film Harakiri incorporates all of these elements.
Harakiri begins and ends with a diary-style narrative that gives the events a feeling of historical realism. Narration by the characters is used to transition between important scenes as the stories of Chijiiwa’s seppuku and Tsugumo’s life are related in flash backs. The main story takes place in the Ii House, with sets including a courtyard, long corridors, and dark rooms. Tsugumo’s house is crowded with umbrellas and his attacks on the two retainers take place in alleyways. Even the scene at the plains is given an oppressive feeling: the wind binds the characters close together, constricting the typically wide proportions of a field. There are many shots devoted to depth and setting rather than to action: however, these scenes serve to underscore the eventual action scenes. Action is also juxtaposed against slow dialogue and Tsugumo’s lack of facial expressions as he relates his story. Shots of the lord sitting silent and motionless in a long room are contrasted against the final action scene, where Tsugumo slams through the walls of the house. Fast music also helps to differentiate the action scenes from the drawn out dialogue of the rest of the film. The action is over-the-top, with Tsugumo taking on a courtyard full of retainers, and the violence is graphic.
According to Standish (288), the violence in Harakiri is used to symbolize the consequences of an individual’s resistance of bureaucratic organizations. Both Chijiiwa and Tsugumo challenge the traditions of the samurai code of honor and both are forced to die violently by their own hands. Chijiiwa chooses loyalty to his family over loyalty to the code of honor and Tsugumo rejects honor altogether, smashing the samurai armor of the Ii household in the final fight scene. However, at the end of the film, the narrative reveals that all record of resistance is erased. The samurai armor is reassembled and the Ii House continues: tradition and convention of establishment overpowers any humanistic challenges.
During this period of the Japanese film (beginning in the 1950s) the reading mentioned how the independent sector of the Japanese film industry burgeoned after the decline of the major studios’ dominance; particularly in ‘sexploitation’ films. This was in part caused by the overwhelming standardization influences of the major studios in triggering the development of the new wave of jidaigeki films and the innovation that soon emerged behind the revival of the period drama genre. Especially after Youth of the Beast, for me, it was a disappointment to go back into the jidaigeki genre even though we are chronologically moving forward during the production period of the films we’re watching, I was looking, or rather expected more of a progression in the paths of these films, but after reading today’s assigned pages, I learned of the historical aspect behind this shift. The revival of the jidaigeki, from a historical perspective, was in response to the occupation period when these films were banned. Actors popular during this genre’s heyday and popularity were no longer employed as they in a sense established their career in the samurai/jidaigeki genre. This time around through technological innovations, filmmakers at Toei Studio tried to compete alongside television which was newly developing and experiencing its own success; which the reading also mentioned how television was becoming/or became associated w/ the domestic and the female. Toei Studios also came to create a new image for the jidaigeki genre by establishing the period drama films as a sort of “big spectacle” as a result of the technological innovations of the time, like the ‘wide-screen’ format which we saw in Harakiri. Along with this shift, the format of the old jidaigeki genre became the zankoku jidaigeki or cruel-jidaigeki primarily in the 60s to reflect the feeling and innovative-thought of the time. With the conventions Toei and Daiei Studios established in the 50s, the 60s saw the development of the zankoku jidaigeki or cruel-jidaigeki genre which reverted back to black-and-white filming rather than conforming to the present advances of color in films (this seemed to be the only advancement that was not incorporated as with the ‘wide-screen’ mentioned above). There was also an emphasis on depth of field, and the way blood was displayed in these films became a more realistic depiction of injuries incurred as a result of the extent of the violence. The depiction of violence and the mise-en-scene in these films changed, but thematically they stuck centrally to justice or the goal of seeking it. The cruel jidaigeki or zankoku genre as with Harakiri, you’ll find that much of the narrative centers on violence and the experiences of the individual ronin. With this revival in general, the author also mentioned how the ‘super samurai’ hero came to represent the “mythic embodiment of social justice” and with the serial format of period films many of the heroes in these films never age or die.Standish then states that the targeted audiences watching these films are not looking to decipher the plot or who-does-what-to-whom but rather fulfillment and satisfaction with the film is based on how the actor manages a specific role, and specifically how he handles the sword fighting or satsujin scenes. Found in Toei films, these satsujin scenes and their lack of “goriness” (which is what the zanzoku genre realistically depicts in their films) is apparent in order to emphasize the intricate techniques of these violent scenes and the reading said this was so that it could ensure these satsujin scenes functioned as performative ‘numbers’ displaying the masculinity and strength of the character involved and moving the story along to the plot’s conclusion. And with the two studios behind this whole jidaigeki revival, Toei and Daiei, their series focused less on character development and psychological depth but rather chose to ignore the human characteristic of aging and death, but rather in favor of everlasting life and the supremacy of the social values of justice they have come to embody. Tsutsui (who’s cited in the book) argued that the jidaigeki genre reminds its audience of a past Japan and therefore these films became a ‘life-style model’ for Japanese people in times of rapid social and economic change. After understanding these points and many others within the reading, the revival of the jidaigeki genre began to make sense though it may not have been what I had hoped for in moving forward with these films.
This film was interesting to me in that I could really see a difference from what we have been watching so far, with regards to how it was shot as well as the subtlety of the bold message the film presents through the plot. I like the less-than-ideal picture this paints of feudal eras, not just immediately following the Sengoku period, but clear up to the fall of the Tokugawa. I fairly certain that this film was a complete refusal of the propaganda that the Japanese state implemented to inspire nationalism and as a means to define the virtuousness of the Japanese cause. I agree with what others have said as well, that the sword of the Bushi came to represent Japanese virtue during the war and after the defeat, the symbol lost all of its lofty meaning and was now empty and useless.
The film used long and almost completely still shots that at times I thought my computer had froze. The film also selected it placed Tatsuya Nakada very well as Tsugumoto. He plays the part so coolly, slow movements, both deliberate and precise. The depth of pain he was able to portray as his character wrestled with the life style of a samurai and their standards , balanced off against the reality of his families health. I my opinion, his acting sold the whole movie.
The emphasis placed on honor, and the discrediting of it, really sent the message that this is a protest. Perhaps the argument that the government was selling them a bill of goods from the pretense of the war down to the ‘Emperor=God’ story. When the emperor was revealed for what he really is, he too is also a symbol without meaning and without purpose. The honor of the soldiers in the war was to die protecting the home land and the emperor; suddenly finding out the great God Emperor was no more super natural than yourself must have been upsetting. I think this correlates to the very end of the film where Tsugumoto argues that the realization that his son in law had sold his swords and that he himself was too proud to do the right thing, and that is to sell them. I also think that Tsugumoto believed that Chijiwa was the better samurai for he had the wisdom to see passed the blade and see the metal.
Unlike many of the films we’ve seen recently in class, it seems to me that there is more to say about Harakiri in terms of its content rather than in terms of its form. There are a few technical aspects of the film that were worth pointing out, such as the return to black and white and the increasingly graphic violence that were mentioned in class, but overall I think that any of Kobayashi’s technical innovations are overshadowed by the overall message of the subject matter. The actual plot of Harakiri seems a little contrived and is fairly predictable, but the important thing is to look at the hidden message reflected by the actual events of the story.
To Kobayashi, the central event of the film – the act of ritual suicide – works as a symbol for the decadent, patriarchal systems of authority in Japan from at least the Tokugawa shogunate up to the end of World War II. In other words, hara-kiri is a system imposed on the samurai/retainer class by the patriarchal authority, under the guise of bushido, which serves as a more or less invented tradition that uses religion to advance political aims. A more accurate way of putting it would be to say that the lower-level authorities – the bureaucrats, politicians, and members of the court, rather than the clan leaders, the shogun or the emperor – are the ones manipulating these traditions for their own purposes. Notice that the absence of the Iyi clan leader is repeatedly mentioned during both Tsugumo’s and Chijiwa’s visits to the castle, allowing the other clan members to plot to force the two ex-samurai to commit suicide in order to save their reputations. Perhaps if Chijiwa was allowed to speak to the clan leader, he would have been more likely to give Chijiwa the money he wanted. Actually this situation underscores the fact that Tsugumo and Chijiwa manipulate the bushido code for their own ends as well. The difference is that the ex-samurai admit it’s superficial, while the authorities work to maintain the illusion that keeps them in power.
The message of the film is one of exploitation of the Japanese people by their traditional authority figures. It would be easy to see Harakiri as an allegory for the perceived deception by the military (and implicitly the emperor) in drawing the nation into World War II; this theme was not new to either Japanese or world literature by 1962, and next week’s film will develop it in even more detail.
Harakiri has been by far the most compelling and graphic film we've watched so far. Even the concept – ritual suicide – is probably quite shocking to western audiences. I know personally even though it is a traditional part of the Japanese culture, in particular during the era depicted, I absolutely abhor the thought of it. Maybe it's my own pacifistic tendencies, but even in an historical context it's upsetting to me to watch suicide, especially when it's forced, as in the film. Chijiwa killing himself with a bamboo sword, and being forced to continue a prolonged and painful disembowelment was about my limit, and there was still nearly two hours left! I suppose it didn't help that I'd been sick all week...
Despite my aversion to the film's themes, the story in and of itself was well depicted through the given medium. The illusion of honour maintained in lieu of actual honour was a very important concept, given the stress on honourable actions that was expected of every samurai in the Edo period. By suppressing the truth and allowing such a dishonourable death as a gun shot to befall the samurai Tsugumo, Saito was committing a wholly unbelievable act. However, as maintaining his house's reputation was far more important to him that honour ever could be. If a lowly Ronin were capable of defeating so many of his men, well...! Just imagine! So he purports rumours of illness among all the deceased – although I'm not really sure how this is a better alternative. Tsugumo, however, seems distinctly aware of everything he has done – disgracing Saito's Samurai retainers as vengeance for his fallen son-in-law, who in trying to protect Tsugumo's daughter and grandson had been forced to die in a most painful fashion, themselves falling to illness not long afterward. Japanese culture of the Edo era reminds me of the Klingons in Star Trek; always fighting for honour and glory, on behalf of their leader, but often the leader turns out to be far more corrupt than the traditional code of honour should ever allow him to become.
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Called simply “ Change it! ” this is basically a big wall of small triangle panels, which can be rotated to get the color of your choice. Each triangle carries white, black, and rainbow shades. I feel that in about four or five years this idea could be on the market, and then you’ll be changing the way your studio apartment looks everyday, and who knows maybe things like this will be the future of interior design. – Via – Yanko
As the mass of solid fuel is melted and consumed, the candle grows shorter. Portions of the wick that are not emitting vaporized fuel are consumed in the flame. The incineration of the wick limits the exposed length of the wick, thus maintaining a constant burning temperature and rate of fuel consumption. Some wicks require regular trimming with scissors (or a specialized wick trimmer), usually to about one-quarter inch (~.7 cm), to promote slower, steady burning, and also to prevent smoking.
I have begun to realize kicking the habit will be very hard. I began cigarettes while I was a kid. It absolutely was the worst mistake I've made. Today 30 years down the road and I have coronary artery disease. I experimented with all the stop smoking gadgets yet none of them helped me. My last try is definitely the e-cigarettes in the end.
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I was sleeping and I remember waking up and I felt really anxious and my breathing was really weird (I've had a panic attack once before when I was little and it felt like that but I felt really anxious and kept moving around). Is it feasible that it was a panic attack or a panic attack? (Is a panic attack and an anxiety attack two different things or the same?) The information you provide here is very valuable - thank you.
I'm having a hard time viewing this website from my cell phone. Maybe you could change the site and make it so I can access it from my phone. Thatd be pretty nice!
um i think these people don't got kids. Kids go through stages and sometimes they don't want to eat anything. If he's at a healthy weight i wouldn't worry to much about it. Make sure he is getting his daily vitamins, and dress up his food a little. here are some ideas that i have used. Peanutbutter sandwiches cut up to look like monkeys. (kids love this one) carrots turned into a smiley face with ranch for a nose. tell them brocolli is trees, just get creative and most important don't try and make them eat anything your not eating cuz it won't happen.
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Film history is such an intriguing topic. In my film history class, we watched some of the first great films, such as Battleship potemkin. It made me want to consider a degree in RTF, but I'm just not sure what I would do with it..
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How to extend the range on the Wireless N router? I've an Xtreme N the now necessary wireless router (Dlink). I have to extend the reach in the wireless signal. I have learned to do it for a G signal. I need to find out how to do the item for an N indicate. Is it possible to utilize regular N routers because repeaters. If so, just how do i configure them. Thanks for your information.
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Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
Personally i think the best way forward is to take the perspective of many people from the general population and try to come up with some sort of half way point where people will understand eachother.
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I was wondering if you ever considered changing the layout of your blog? Its very well written; I love what youve got to say. But maybe you could a little more in the way of content so people could connect with it better. Youve got an awful lot of text for only having one or two images. Maybe you could space it out better?
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Between me and my husband we've owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I've settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.
The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)
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If you are sitting on the fence about this article, then let me tell you from experience, i tried it and it is a high quality product, but people buying from different sources will always have an opinion, or if they got screwed over then they will give negative reviews, which i dont think is correct.
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Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
Personally i think the best way forward is to take the perspective of many people from the general population and try to come up with some sort of half way point where people will understand eachother.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
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Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.
This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.
Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.
Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
I feel like the GOP are just to profit motivated to really say anything ever, i suppose they have them they are just to much of wusses to ever really yell out their idea/s.
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I feel like the GOP are just to scared to really say anything ever, i suppose they have them they are just to much of sissies to ever really yell out their idea/s.
Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.
The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.
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This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.
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If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
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The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
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If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
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If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
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Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
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I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)
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James Updyke
29 October 2009
ALL 3456
There exists a distinctive tension between ethical reasoning and traditional Japanese values. Without a doubt, Japan faced a difficult period of changes caused by the loss of authoritarian power through war times. In 1962, Kobayashi Masaki’s “Seppuku” (“Harakiri”) challenges modern traditional government propaganda. Kobayashi, considered a liberal director, used his films to show ethical tensions and promote modernity and reason. In other words, Japanese traditions and customs can be seen as a direct reason for economic and social issues. If modern values and change were welcomed more freely, Japan could prosper. The stubborn hold on these traditional values could actually be the reason for Japan’s problems.
“Harakiri,” one of the “cruel-jidaigeki” films of the 1960’s, takes the audience back to older times where the shogun ruled much of Japan. The cruel nature of the film is used to convey Kobayashi’s message. As Standish writes, “the ethic of ‘bushido’ (the moral code of the samurai) is deconstructed as an outdated ideology of oppression in a society centered on material rather than humane principles.” (288). During the war period, principles of “bushido” were revived to show a message of duty to the emperor. Samurai were seen as symbols of these traditions, thus loyalty among the people to the Japanese empire was considered essential to custom. “Harakiri,” as a challenge to this system, shows the dark side of these traditions. The Ii clan, representative of Japanese traditions, enforces the “bushido” code and is shown to be corrupt and evil throughout the film.
The film’s ending provides a powerful and symbolic representation of traditional defiance. Hanshiro, the main character, takes up the large armor samurai and destroys it by throwing it to the ground. This armor set was shown in the beginning and end of the film to symbolize the Ii clan’s Japanese values. The eerie shrine was then destroyed in one fluidly powerful gesture. Standish writes this scene as “symbolic of his [Kobayashi’s] attack on the ideology of ‘bushido.’” (289). Although very dramatic and, at times, disturbing, “Harakiri” shows the need for change and acceptance of modernist values into the traditional world of Japan.
The film for the week, hara-kiri, was absolutely amazing. The whole thing is just one big mind screw, you think you know what they main plot and idea is, but instead it changes constantly. This movie does something to your insides after hearing the entire story Motome, Miho, and Kingo. They’re story makes your insides cringe, from the sheer disgust you feel from the samurai in the film. This idea in this film seems very original, I haven’t seen a film like this with same theme. The ideas in this story about the lord, main characters, and the main characters family, are there to make you think, and the theme that shows up is definitely one of look before you leap, to conclusions. The fact that the movie was in black and white was another really good touch to the film, it made you believe that the film was older than it really was. The end of the film where the main character is throwing the topknots of the three samurai responsible for humiliating his son in law was brilliant. The idea that the main character knew going into this that he wouldn’t die by hara-kiri and that he would disgrace the entire house in which he asked to commit seppuku. When I saw topknots thrown out from his garments, and then he laughed hysterically, like a maniacal madman, I thought to myself, this is where he makes his last stand. The fact that he was killed by means other than the sword and that he had disgraced 11 soldiers, and killed 4, in which the 11 had to commit seppuku was a brilliant act. If word got around to the other clans and the shogun of what had happened there the lord might have been disbanded himself. That is the reason why in the end they change the story calling for the 11 to commit seppuku and saying that the main character actually committed seppuku on the lord’s grounds, rather than killed by his lackeys. Over all the movie was awesome, and as a note, this movie was not bloody/gory, there was some necessary violence, but there is no way to explain the pain and anguish of the characters without showing some. To say that a movie is gory, is to be watching a movie that deliberately shows more blood/violence than is necessarily needed. This movie did not, and to believe so means that any blood/violence shown in a movie automatically makes it gory. I do not agree with that idea of thinking and believe that the movie had an adequate amount of violence and blood to visually stimulate the mood and thought in the movie.
Week Eight Position Paper
Japanese Film
By Eric Michelson
When I was watching the movie Hara-kiri I noticed that it went in line with something I was doing in another class. In a Japanese literature class we are reading about to code of the warrior, bushido. I kept this in mind when I was watching the movie, because the actions taken in the movie by tsugumo and chijiiro were more of less in line with the tenants of bushido. Expect of course Chijiiro attempting to get money from the iyi clan by threatening hara-kiri, but the reasons that he tried to do it were honorable.
The actions of the iyi clan were dishonorable, but only to a point for the majority of the movie. When the movie started we saw the hon elder taking tsugumo into the house and telling him the story of chijiiro. When we heard this story it appeared that chijiiro was the bad guy and the house of iya was in the right. As the movie progressed we came to understand the reasons that chijiiro was doing this and his back story and we began to see that despite the dishonor that came with chijiiro threatening hara-kiri, we see that the house of iya was in the wrong as well. But the full extent of the dishonor of the house of iyi was not seen until the end. When tsugumo sought revenge and eventually committed hara-kiri we see that this stained the honor of the house of iyi due to their in appropriate reaction to chijiiro threatening hara-kiri. When the end comes and we see the hon elder basically ordering of cover-up of what happened to we began to see that all of the honor of the house of iyi is a lie. Tsugumo was right honor for the samurai just glosses the surface. There is a scene at the end when it is showing the building in the wake of the hara-kiri of tsugumo when we see the emblem of the house of iyi that decorates a door stained with blood. This symbolizes that the honor of the house of iyi is stained with blood. A subtle remark but powerful.
Harakiri is a movie within the jidaigeki genre. It is more specifically called a cruel jidaigeki and depicts ronin in the Tokugawa shogunate. It shares common themes with pre-war jidaigeki, like Orochi, such as black and white, being set in feudal Japan, a focus on samurai. However, jidaigeki after the war have new film techniques to use that allowed them to depict higher levels of violence. The theme of Harakiri is that the ritual of seppuku is a cruel one. Standish puts it like this, “bushido is deconstructed as an outdated ideology of oppression”. This can be seen very clearly in Harakiri. When Motome is not allowed to have a couple of days to put his things in order before carrying out the ritual he is forced to use the only blades he had, ones made of bamboo, to cut open his belly. This, I think, directly symbolizes the cruelty of the ritual as bamboo is not very sharp and cutting open your belly with it is tortuous. Standish also points out another symbolic act at the end of the film. This is when Tsugumo throws the samurai armor on the ground in front of the Ii clan samurai and Benosuke. This, Standish points out, represents Tsugumo’s contempt for the ideology of Bushido. Then, at the very end of the film we see that the armor is back on its pedestal, everything is in order. Standish says that this shows “the bushido ideology’s ability to withstand such attacks by individuals.” The way that Kobayashi “deconstructs” bushido is by showing the edges of it. He does this by showing how anxious the Ii clan becomes when Motome first tries to delay the ritual and then when Tsugumo successfully delays it for some time. Instead of allowing Tsugumo to finish his story, Benosuke wants his samurai to kill him and then record it as seppuku in the clan records. To me, this shows how the ritual of seppuku is used as a political weapon. When the shogun takes control of a domain and puts samurai and others out of work he probably does not want those ronin to be wandering and making trouble for him. I think that this is part of the practical value of the ritual itself to whoever is in power.
Adrian J. Hawkins
Week 8
In the film Harakiri I felt that it was very acceptable for the film to go back to black and white (even though some classmates didn't appreciate it). Similar to the reading I felt it was suitable for not only an aesthetic sense(s) but also because the director, Kobayashi was trying to question the values that post war Japan had. To question these norms and values, he had to go back to pre war (feudal) Japan. It is here that the plot to the story beings and Kobayashi questioning the norms of society, more so with the samurai, and the bureaucracy classes. In the film, a former samurai calls the samurai superficial and tending to only the outer appearance of being a “superior” being, when people are watching. He does so by removing three of the lyi (clan) samurai’s topknots of hair (a sign of honor) and giving them to their master. The three samurai refuse to show up at the suicide ritual, because they know that they will be dishonored (based on something superficial). This foreshadows what will be significant at the end (of the film), when the master covers up what would be a great embarrassment to his family name, after the main character (the ex-samurai) has killed several other samurai and injured eight more. The servant is supposed to address this to the public, but he hesitates and is insulted by his clan master. The servant now understands what the ex-samurai meant by being “superficial”.
One thing I didn't comprehend fully was the ancestor samurai. I understand the tradition behind it, but why did the movie stress such an importance when the ex-samurai fell into that room (maybe his dead ancestor spirits?)
I have seen Harakiri before this class and it was a pleasure to see it again. I enjoyed watching the movie again mostly because of the knowledge of Japanese history that I have gained while in college. Before when watching this film I just saw Tsumugo as a badass with a grudge, now I see can see the critique of the Tokugawa government as relating both to the time the movie was set and when the movie was made. I also got a chance to take another look at the cinematography and direction in comparison to other samurai and jidaigeki films. Harakiri falls into the “cruel” samurai genre and I can see how it differentiated itself from previous movies involving samurai. For one the fight scenes in Harakiri are much more realistic, with their use of blood and paring down the length of duels. However they still tended to be on the over dramatic side with our hero enjoying impossible good fortune. The final scene now reminds me of the final scene of Orochii. As well the story of the main character who's life goes from bad to worse, jidaigeki standard, can be seen in Tsumugo's plight. Although in this movie our hero is allowed victory, albeit a grim one. Also this movie is still in black and white, reminiscent of the older jidaigeki on the surface, is now used as a tool to further the emotion impact of the film. Blood now takes on a central role in conveying emotion. We can see this in scenes such as when the young man commits harakiri in the beginning, his black blood a sharp contrast to the white funeral robes he is wearing and when Tsugumo cuts down a member of the Iyi clan and as the man falls he smears his black blood over the Iyi house symbol. Lighting is also more pronounced, such as the soft spot light illuminating the bodies of those who have committed harakiri.
Kobayashi Masaki’s Harakiri is an interesting commentary on the samurai tradition in Japan. The film takes place at the beginning of the Tokugawa regency in the early 17th century, at a time when many samurai are becoming obsolete and displaced as the shogunate consolidates its power and Japan experiences a prolonged period of peace after a pivotal civil war. Conversely, Harakiri was released nearly a century after the samurai class/status controversy came to an official close with the abolition of the rank all together, early on in the Meiji period. With this in mind, it is reasonable to assume that Kobayashi must have intended for his film to either use the social conflict of the samurai as a metaphorical representation of social issues plaguing Japan in the post-war era or he may simply have been abiding by throwback jidaigeki genre conventions in this cruel jidaigeki film.
The story/explanation that ronin samurai Tsugumo Hanshiro gives to the Iji clan elder eventually culminates in Tsugumo’s severe criticism of samurai ideals. Being a displaced samurai himself, he is suggested to have only continued living after his displacement out of obligation to a friend to take care of his son. This young samurai man, Motome, goes on to marry Tsugumo’s daughter despite the financial implications and his pre-existing plight. After having his subsequent son and wife fall ill, Motome goes to extremes such as selling his swords and feigning a desire to commit harakiri to make ends meet. Tsugumo later condemns himself for not even considering going to these same lengths for his family out of his sense of samurai pride and honor. He tells the clan elder that in a crisis, Motome set aside his samurai status, which had in fact only contributed to his plight, in an effort to help his family.
Harakiri, as a cruel jidaigeki of the 1960’s, was in direct competition with yakuza films, the other popular genre that targeted a similar male audience at the time. In response to the popular motif of ninjo versus giri, Kobayashi’s film offers a similar conflict in the form of Motome and Tsugumo’s struggle between adherence to their samurai ideals (giri) and loyalty to their family and dependents (ninjo).
What was especially interesting to me in the film was the use of mid and wide shots in the film, especially during critical points in the film’s plot. Standish’s arguments that the sets, specifically walls, courtyards, internal and external corridors, trapped and confined characters of cruel jidaegekis seems prudent when seeing that almost every tracking shot, whether it be the setting when Motome was preparing for a meeting with the Clan Elder, the tracking shot from the youngsters to Tsugumo and Jinnai, the tracking shot just before Bennosuke calls for more retainers to surround Tsugumo, etc., seems to set a snare around the characters in question, as Motome must commit suicide in front of the Ii clan or be cut down, or as Tsugumo must deal with the entire Ii clan in telling his story before attempting to fight them off, or during the final fighting scene when Tsugomo must defend himself from attack.
It appears that close-up shots, specifically close-ups shot from below the subject more often than not, are used not only to create the tension of the moment, but stress the unfairness of the culture in which the characters live, such as when Motome is attempting to disembowel himself, or the rattling shots of the Ii ancestral armor in the first minute of the movie. An interesting example of this is when the Ii retainers had brought back Motome’s body to his family, and while the retainers are extolling the virtues of the samurai, a close-up of Kingo is featured, a towel drapped on his sick forehead. I thought it was a particularly effective use of the cruel jidaegeki theme of trapping innocents in unfair and morally indistinguishable circumstances. This play on the normal practice of close-up shots during moments of tension worked well, as the standard close-up shots were easily distinguishable from the ones that served to stress the key moments of “unfairness” in the movie. The shots of the Ii house records are definitively in the latter category, although the meaning behind these close-ups is sheltered until the very end, when all account of the incidents are to be hidden away.
-__- sorry for e-mailing mine two seconds ago...this wasn't showing up so~
Well, first off I have to say this movie made me cry. I’ll fess up. Seppuku, I would argue, has been the wildest emotional ride this entire semester, exhibiting perhaps the strongest and keenly aimed jabs into the psyche. Previously, we had seen the samurai’s death in Rashomon as the build up of a monologue, close-ups and finally the distant shot of him plunging the knife into his chest. Then it cuts off to the medium. The viewer is instantly ripped out of any emotional buildup, cut short and left caring less then they could. No such emotional distancing is allowed in Seppuku. Honestly, I almost had a panic attack during the wind up to Motome’s bamboo hara-kiri with echoes of trapped trapped TRAPPED screaming in every aspect of the shot. And this feeling never let up. It dragged you kicking and screaming, with no hope for escape, no matter how desperately Motome (and the viewer) may be looking. Every blood splattered second, each squelch and pant, is down right horrifying and gut wrenching. It not just a matter of the gore, but the mental state that is in fact the hardest part to swallow. To do that to yourself, with a blunt instrument no less, is not a sane thing, but a thing of nightmares (and movies like Saw) and thus something we want to run screaming from. It isn’t going to be the quick jab of Rashomon, oh no.
Then the flashbacks go further back, another breakneck turn in the emotional roller coaster. Certainly, we’ve seen our variety of flashbacks, but it made for a horribly perfect path to utterly disillusion the viewer. Seeing the peaceful life of Hanshiro makes all that comes that much more horrible as the future hovers like a dark cloud over the viewer. His past taunts the viewer, giving him opportunities to be a man we could hate and find his current situation acceptable but instead digs a deeper and deeper pit. He takes on the care of his friend’s son despite the hard times. He refuses to sell off his daughter, which would have been a downer, but certainly not as completely depressing as the final path. It goes back to the trapped feeling, this knowledge that doom cannot be avoided. At this point, I wasn’t surprised to find vindictive, and borderline maniac, pleasure at Hanshiro’s tales of the samurai and the topknots. Horror followed by hysteria and hopelessness work wonders on one’s psychological state. Wonderfully played on Kobayashi’s part.
Placing the plot aside, the next greatest factor for emotional strength rested in the actors’ eyes. As corny as the phrase ‘pathway to the soul’ has become, I’ve always felt eyes are what makes the character. They certainly were not ignored by Kobayashi. Dark smudges bruised and emphasized Motome’s during his times of desperation, giving him a thin stretched man at the end of his endurance. Close ups capture their frantic back and forth motions, connecting deeper with his panic, his need to find a friendly face in the crowd. Hanshiro’s eyes were arguably the most soulful of the lot, often wide and gleaming with reflected lights. It felt like the big friendly dog next door…and you were watching it being kicked to death. The eyes of Miho felt somewhat alien beneath her shaved brows, but the close-up of her empty eyes fixed on the body of her husband is a easy read.
I thought that Harakiri was an interesting movie. Far more graphic than
anything we’ve seen before, this film showed that the Japanese directors
were very capable to creating gory movies. The scene in which Chijiiwa was
forced to kill himself with dull bamboo blades was almost too much to
watch. On the other hand, this brutality allows the viewer to see the
cruelty of the feudal system and how it victimizes the people. The Ii
household is revealed to be a hypocritical example of the ruling class,
forcing those less fortunate to suffer. The clan reveres honor, yet shows
themselves to be dishonorable when they force suicide on a poor man trying
to get charity for his sick wife and dying son.
Coincidently, it is the ronin who shows more honor and distinction
than the employed warriors throughout the film. Tsugumo relates his story
to the Ii house in an attempt to teach them the error of their ways. In the
end, they do not listen and Tsugumo is forced to cut them down before
falling to his own demise. Most of the film takes place in the courtyard as
the Ii clan listens to Tsugumo’s tale.
Tsugumo is isolated from the Ii clan, placed in the middle of courtyard so
that they may witness his honorable death. His isolation is also a symbol
of his retained honor, even when unemployed, that differentiates him from
the other warriors of the Ii clan. Director Kobayashi depicts this
separation through his usage of camera angles and lighting. Tsugumo appears
to be highlighted as he sits on a white mat, the other warriors lurking in
the shadows of the courtyard. The distinction between light and dark is
very clear in these scenes and alerts the viewer to the differences between
Tsugumo and the other warriors.
This film was very interesting in that it revealed more of a history of the
people of Japan as a whole rather than just the tale of one unfortunate
man. Kobayshi’s belief that reason should preside over tradition makes
itself known in Tsugumo’s arguments about the Ii clan’s treatment of
his son-in-law. The Ii clan held honor above everything, even mercy. This
rationalization of tradition is hypocritical in that it went against the
Buddhist ideals of the samurai. Thus, Kobayashi’s implicit criticisms on
Japanese traditions were revealed through Tsugumo’s arguments and his
tragic tale.
Overall, I thought this was a good movie. The storyline seemed to drag in
places, but once all the pieces were fit together, the movie made a very
dramatic impact and was a very compelling critique of the Japanese feudal
system.
I felt like Harakiri has a very distinct Japanese narrative style. I’ve noticed that the more traditional themed movies we’ve viewed have elapsed over a long time than the others ones (2 + hours) because the Japanese narrative is slow to unfold, but this does not make it boring or unexciting. It’s a sort of suspense that must be built up and suddenly your paradigm is shifted. Like when Chijiwa was forced to commit seppuku, the lack of background story made it appear that yes, this was an imposter samurai looking for honor or money and then backing out of his promise to commit it. The audience thinks lower of him because we see ‘weakness’ (not to mention I couldn’t watch part of this, it was gruesome, bamboo swords…) in the way he nervously and hesistantly takes his life. When the newcomer to Iyi, Sugumu requests the same thing, he finally admits he ‘knows of him’ which is an understatement. The story unfolded through flashbacks and oral narrative, along with black and white filming. I think these aspects help make it feel like a ‘true’ samurai film. I also feel like if it was shot in color, it would be too strong for an audience of that time due to the violence and amount of blood. By having it devoid of the harsh red color, we can tolerate it while still be horrified by the battles at the same time. Sugumu was caught in what I like to call ‘dominos of dishonor.’ First Chijiwa is unjustly forced to commit seppuku without leave like he asked “for surely there must be a reason he asked this.” Therefore, instead of just letting Chijiwa dishonor himself, they made sure he followed through with his promise. This caused Sugumu to piece together his death after he loses his family and enact revenge for the act. By cutting the top knot off of his enemies, he does greater than killing them and has forever insulted them. The Iyi clan cannot handle that he takes down 4 men, injures 8, and took the top knots of 3 others. Not only does on kill himself because of the dishonor, but the other two will be ordered to. The movie closes with the Iyi leader re-writing their history because they have been so disgraced he cannot fathom if this gets out, insisting many died of hara-kiri and illness. The sort of ‘stillness’ throughout the first three fourths of the film is countered by high action sword fighting at the end, to seal off a strong Japanese-ness felt in Harakiri.
In class we learned that Masaki Kobayashi’s 1962 film Hararkiri (Seppuku in Japanese) is intended to be a cautionary tale. It is a reaction to a semi-national feeling that Japan should return to the “good old days” because modern Japan is not really Japanese, and that is what is causing so many problems in society.
I think that the method Kobayashi used was extremely affective. He chose to format the film in the traditional jidaigeki manner. He chose to do it in black and white, like the traditional ones. Why this was effective was because jidaigeki is one of the oldest forms of Japanese cinema. Many of the films from the past really romanticized the Tokugawa era of Japan. Films like Kurosawa’s Seven Samurai shows the romantic aspect of the time, showing the samurais compassionate side and how well their rule and tradition protected even the lowliest members of society.
This false picture of happiness is not present in Harakiri. Kobayashi uses a more realistic filming style to show that the era was not all compassion and happy-go-lucky times. It was a time of war and extreme violence. An example of this is the final fight scene.
Although the cinematography is still very stylized and aesthetically pleasing, it portrays battles in a way different then most of its predecessors. The sounds are much more striking because it sounds like steel on steel, and the screams are more terrifying because they are not over dramatic as they have been in past moves. Something has changed in the way the movement of the fight is done. They seem much less choreographed, and due to that more plausible. They are not always the honorable battle anymore either. In the final battle scene, there is a low shot where sand is thrown into the eyes of a competitor, as the man struggles to stay in the fight. It is not fantasized sword work, the struggle of a human. Also how people look when they are wounded is rather jarring because if its connection to reality.
By using a traditional form for his social commentary, Kobayashi created something that could appeal to the masses. The genius however lays in the fact that he used realism and cinematography to show the actuality of the time period and help shatter the romantic notions that nostalgia and failure in the war had created. In essence it was an effective criticism because it was clear, but not overly aggressive in its presentation.
Thomas James Nosbish
All 3456
Japanese Film
Position paper
Harakiri
Masaki Kobayashi's Hara-kiri is a story about a ronin and his request to commit hara-kiri. The ex warrior or ronin Hanshiro arrives at the gates of Iyi Manor, asking to use their courtyard to be given a samurai's death the action of Harakiri. Kageyu Saito, the lord of the house, recalls a story about a ronin who previously came there requesting hara-kiri under false pretenses. Saito pressed the issue and refused to let the ronin back out, forcing him to commit suicide. Saito tells this story to ensure that Hanshiro's intentions are sincere. It was quite a gruesome scene in which the samurai failed to draw his blade upwards to fiish the ritual and bite off his tongue in disgrace. After determining that Hanshiro actually intends to complete the ritual, Kageyu Saito grants Hanshiro the final request of telling his story so that others may benefit from hearing a dying man's last words. Hanshiro's plight is an indictment against the bureaucracy, hypocrisy, and false sense of honor that the samurai cling to so tightly. Realizing his true intentions, there is a glorious ending with large battle, ending with the Lyi clans symbol of power being disgraced by Hanshiro.
The screenplay of this film is so immersive that it would seem pointless to question its historical accuracy for it plays very closely to that of Traditional Japanese history and customs.. Also, the idea of exposing the hypocrisy and corruption within the ruling class is universal. Hanshiro has every intention of killing himself, but only after his point has been made. The visual effects of the film from the crude attempts at gore, and the non-diegetic music were well placed in the film. Blood was only used about four times in the film and during each harakiri scenario. This gave the blood in the film meaning, not just for a shock value.
Overall the film did portray political themes that still could relate to modern times. The notion of the administration and the roles the clans were both interesting concepts, that I would like to look further into.
I really enjoyed watching the film this week. The film was Harakiri and it was about how peace in the 17th century Japan caused many of the Shogunates to break-up the warrior clans and make thousands of samurai unemployed and forced them to live in poverty. Many of these unemployed warriors had only one answer to this and that was the honorable ritual suicide of hara-kiri. A wondering samurai named Tsugumo had come to perform hara-kiri and wanted assistance by the Iyi clan. You later find out that Tsugumo is trying to avenge the death of his son-in-law and try to prove that he was killed in a very dishonorable manner. This critique of Japanese social customs and traditional customs was a common theme in many of Koyashi’s films. Throughout Harakiri you get the feeling that honor, tradition, and codes are constantly being challenged and brought into question. By the end of the film right before the epic battle scene Tsugumo throws out the top-knots of the warriors that had disrespected Chijiiwa by having him use his bamboo swords, which he had to use because Chijiiwa sold his real blades so as to get money to help take care of his dying wife and deathly ill son. Taking the top-knot off of a samurai is one of the most disrespectful things you can do and by doing so you are almost forcing them to commit hara-kiri themselves. This contrast between the unwavering ignorance towards tradition and the idea of reason also had an important impact on Japan in the real world. During the 60s Kobyashi had a sense that there was something wrong with Japan and its traditions. To Kobyashi reason was modern, so if Japan wanted to become more reasonable and not blindly follow lost traditions, Japan would have to become more modern. Throughout Kobyashi’s work even in Harakiri you can see that those traditional values often keep some sort of virtue and honor, however they are more often than not being used for the exact opposite purpose of what they stand for. This could be seen in the film at the end when the Iyi clan has to lie about the death of Tsugumo and force his men to perform hara-kiri on themselves. Overall Harakiri has definitely been one of the better films I have seen in this class this semester.
Its very interesting to think of how star systems work, and more interesting to think that pop culture stars, not the people themselves mind you, but the presence of stars at all, is a trait that is universal across all countries (the ones civilized to the point that they have advanced media like cinemas, television, etc.). They aren’t inconsequential either; to simply dismiss a star as a provider of entertainment would be to oversimplify their effect on culture, but so too would it be to claim that they are definers of generations. There is a subtle balance and a subtle influence that cannot be ignored. In class we discussed the effect of Elvis on an entire generation of Americans; they came to identify much of themselves with the image he came to embody. I realize this is a fine line to walk, I find myself teetering between what could possibly be considered academic observations, and pure conjecture. But the issue still demands to be addressed; what effect do our stars have on our culture? Raine brings up interesting occurrences and examples about Yujiro’s effect on Japanese culture. Yujiro sang, acted, appeared on stamps and huge posters, and defined fashion. In other words, you could find him everywhere, infiltrating every aspect of life. Does this mean Yujiro defined a generation? Did his roles in cinema set the model for youth, or were they merely reflections of mentalities that already existed? Raine notes that after he became famous, his style was adopted by many of his fans; for example, fans began wearing jewelry and speaking and walking like him. We could assume that the question is answered then, but that does not take in to account the position Yujiro was coming from and where he got his ideas, nor if they even were his. Remember that media (more specifically, media companies) work in mysterious ways; perhaps much of his “style” was not his to begin with. The biggested reason I’ve called this in to question, is because we must remember that he had to soften his “bad boy” image before he ever had a shot at being famous. Who was the real Yujiro anyway? Theres a strange blending here between the screen personality and the real personality; its inevitable for any really big star. Plus, it's a chicken and egg complex; there probably really isn’t any answer, but its nonetheless something that was brought to the forefront of my mind upon reading Raine’s article.
Harakiri takes place during the Edo period, telling the story of ronin Hanshiro Tsugumo who is unable to perform harakiri after his lord has died due to the fact that his lord had ordered him to stay alive so that he could take care of his daughter, son-in-law, and grandson. The start of the film opens with Hanashiro arriving at feudal lord Kageyu Saito's home, looking for a suitable place to commit harakiri. When he announces this, Kaegyu Saito warns him with a story. Earlier in the year another ronin, Motome Chijiiwa, had come looking for a place to commit harakiri as well. They called his bluff and upon discovering that his sword was actually only made of bamboo, still forced him perform harakiri, leading to a slow and painful death. Despite this, Hanshiro insists on ending his life.
While preparing for his suicide, he recounts his life, explaining how his lord had been a threat to the shogunate and so was disposed of. His friend performed harakiri, taking his own life, and left his son, Motome Chijiwa, for Hanshiro to take care of. With the responsibility of his own daughter, Miho, and now his friend's son too, he could not end his life the honorable way and so he continued living on, supporting them even though all he could give them was a life of poverty. When the two children were older, they got married and had a son named Kingo. They still continued to live in poverty. Miho and Kingo fell ill and so Chijiiwa devised the plan of committing harakiri at a lord's house. After his death, Miho and Kingo died from their illnesses.
Earlier in the film he had tracked down retainers he believed responsible for the death of his family, and so humiliated them by cutting the top knot of their hair. It is after he finishes his story do the lord's retainers attack him. Though there were more of them against him, he succeeded in killing and wounding several but in the end, he could no longer avoid his own wounds. He attempts to commit harakiri to avoid being killed by them but is, nonetheless, still shot.
The ending itself is symbolic for the ending of the Edo period and it turning into the Meiji era. The fact that even though he tries to kill himself, he is still shot and killed symbolizes the rise of industrialization in Japan, represented by the gun. Hanshiro represents the “japanese” lifestyle through his being a samurai – a ronin but still a samurai – and through his life ending not by another sword but by a gun, it is symbolic of the Meiji and industrialization arriving and ending the Edo period.
A major theme in "Harakiri" is the issue of honor. Hanshiro's character was centered on upholding tradition and the bushido as a former samurai. He tries to be righteous in his actions. For instance, Hanshiro refuses to marry off his daughter to someone of poor character that would treat her badly just so that they would be financially better. This shows his honor in valuing personal treatment or acknowledging how others treat you as a measurement of respect versus having money and power by association. But it wasn't just the samurai code, honor and formality in general were important or maybe that is part of the bushido. It isn't really specified in the film. In the beginning, Motome teaches children lessons of Confucianism like "ignorance of etiquette means failure." And in conversations with Hanshiro, he talks about how disgusting it is that warriors would disgrace themselves and the ritual to the point of threatening for money. Yet, his dire circumstances force him to stoop to the same lowly act as a very last resort to save his family.
"Harakiri" becomes a questioning of the morality and honor of people but more specifically those within the feudal system. Hanshiro criticizes the feudal lord for only having superficial honor, which is shown to be true by the way he constantly hides behind others and his forcing the samurai to kill themselves out of stinginess. The feudal lord isn't even there to witness the massive fight between Hanshiro and the retainers; he just listens to the clashing from a safe empty room. He doesn't allow real respect towards the samurai that are performing a sacred ritual. He has no hesitation at ordering the death of others.
I thought it was interesting that during the scene where Motome's dead body is returned, Hanshiro sort of renounces upholding samurai morality. He feels foolish for holding onto his sword, "the soul of a samurai," when it's just a frivolous object that has become a symbol for the lives they used to lead but no longer has any real meaning. Hanshiro seems to abandon being a part of the samurai class but I'm not sure if he continues to hold on to his morals or not. At one point he says that "a good samurai doesn't give up the fight" and he is relentless in his final battle. Plus, he's very formal and proper in his conversations with the feudal lord. However, his perseverance at the end could be more about him having nothing left to lose by fighting all out. Hanshiro said to the feudal lord that he was eager to see Miho, Kingo, and Motome again. I think he doesn't completely lose upholding the bushido because of the way he conducts himself at the end but he is still enacting a plan of revenge.
The cruel jidaigeki films of the 1960’s were markedly different from the jidaigeki films of the past. Standish (287) notes the major stylistic changes that emerged with the cruel jidaigeki genre: black-and-white film to portray realism, voice-over narration, attention to “depth of field”, and action scenes characterized by speed and blood. Kobayashi Masaki’s 1962 film Harakiri incorporates all of these elements.
Harakiri begins and ends with a diary-style narrative that gives the events a feeling of historical realism. Narration by the characters is used to transition between important scenes as the stories of Chijiiwa’s seppuku and Tsugumo’s life are related in flash backs. The main story takes place in the Ii House, with sets including a courtyard, long corridors, and dark rooms. Tsugumo’s house is crowded with umbrellas and his attacks on the two retainers take place in alleyways. Even the scene at the plains is given an oppressive feeling: the wind binds the characters close together, constricting the typically wide proportions of a field. There are many shots devoted to depth and setting rather than to action: however, these scenes serve to underscore the eventual action scenes. Action is also juxtaposed against slow dialogue and Tsugumo’s lack of facial expressions as he relates his story. Shots of the lord sitting silent and motionless in a long room are contrasted against the final action scene, where Tsugumo slams through the walls of the house. Fast music also helps to differentiate the action scenes from the drawn out dialogue of the rest of the film. The action is over-the-top, with Tsugumo taking on a courtyard full of retainers, and the violence is graphic.
According to Standish (288), the violence in Harakiri is used to symbolize the consequences of an individual’s resistance of bureaucratic organizations. Both Chijiiwa and Tsugumo challenge the traditions of the samurai code of honor and both are forced to die violently by their own hands. Chijiiwa chooses loyalty to his family over loyalty to the code of honor and Tsugumo rejects honor altogether, smashing the samurai armor of the Ii household in the final fight scene. However, at the end of the film, the narrative reveals that all record of resistance is erased. The samurai armor is reassembled and the Ii House continues: tradition and convention of establishment overpowers any humanistic challenges.
During this period of the Japanese film (beginning in the 1950s) the reading mentioned how the independent sector of the Japanese film industry burgeoned after the decline of the major studios’ dominance; particularly in ‘sexploitation’ films. This was in part caused by the overwhelming standardization influences of the major studios in triggering the development of the new wave of jidaigeki films and the innovation that soon emerged behind the revival of the period drama genre. Especially after Youth of the Beast, for me, it was a disappointment to go back into the jidaigeki genre even though we are chronologically moving forward during the production period of the films we’re watching, I was looking, or rather expected more of a progression in the paths of these films, but after reading today’s assigned pages, I learned of the historical aspect behind this shift. The revival of the jidaigeki, from a historical perspective, was in response to the occupation period when these films were banned. Actors popular during this genre’s heyday and popularity were no longer employed as they in a sense established their career in the samurai/jidaigeki genre. This time around through technological innovations, filmmakers at Toei Studio tried to compete alongside television which was newly developing and experiencing its own success; which the reading also mentioned how television was becoming/or became associated w/ the domestic and the female. Toei Studios also came to create a new image for the jidaigeki genre by establishing the period drama films as a sort of “big spectacle” as a result of the technological innovations of the time, like the ‘wide-screen’ format which we saw in Harakiri. Along with this shift, the format of the old jidaigeki genre became the zankoku jidaigeki or cruel-jidaigeki primarily in the 60s to reflect the feeling and innovative-thought of the time. With the conventions Toei and Daiei Studios established in the 50s, the 60s saw the development of the zankoku jidaigeki or cruel-jidaigeki genre which reverted back to black-and-white filming rather than conforming to the present advances of color in films (this seemed to be the only advancement that was not incorporated as with the ‘wide-screen’ mentioned above). There was also an emphasis on depth of field, and the way blood was displayed in these films became a more realistic depiction of injuries incurred as a result of the extent of the violence. The depiction of violence and the mise-en-scene in these films changed, but thematically they stuck centrally to justice or the goal of seeking it. The cruel jidaigeki or zankoku genre as with Harakiri, you’ll find that much of the narrative centers on violence and the experiences of the individual ronin. With this revival in general, the author also mentioned how the ‘super samurai’ hero came to represent the “mythic embodiment of social justice” and with the serial format of period films many of the heroes in these films never age or die.Standish then states that the targeted audiences watching these films are not looking to decipher the plot or who-does-what-to-whom but rather fulfillment and satisfaction with the film is based on how the actor manages a specific role, and specifically how he handles the sword fighting or satsujin scenes. Found in Toei films, these satsujin scenes and their lack of “goriness” (which is what the zanzoku genre realistically depicts in their films) is apparent in order to emphasize the intricate techniques of these violent scenes and the reading said this was so that it could ensure these satsujin scenes functioned as performative ‘numbers’ displaying the masculinity and strength of the character involved and moving the story along to the plot’s conclusion. And with the two studios behind this whole jidaigeki revival, Toei and Daiei, their series focused less on character development and psychological depth but rather chose to ignore the human characteristic of aging and death, but rather in favor of everlasting life and the supremacy of the social values of justice they have come to embody. Tsutsui (who’s cited in the book) argued that the jidaigeki genre reminds its audience of a past Japan and therefore these films became a ‘life-style model’ for Japanese people in times of rapid social and economic change. After understanding these points and many others within the reading, the revival of the jidaigeki genre began to make sense though it may not have been what I had hoped for in moving forward with these films.
This film was interesting to me in that I could really see a difference from what we have been watching so far, with regards to how it was shot as well as the subtlety of the bold message the film presents through the plot. I like the less-than-ideal picture this paints of feudal eras, not just immediately following the Sengoku period, but clear up to the fall of the Tokugawa. I fairly certain that this film was a complete refusal of the propaganda that the Japanese state implemented to inspire nationalism and as a means to define the virtuousness of the Japanese cause. I agree with what others have said as well, that the sword of the Bushi came to represent Japanese virtue during the war and after the defeat, the symbol lost all of its lofty meaning and was now empty and useless.
The film used long and almost completely still shots that at times I thought my computer had froze. The film also selected it placed Tatsuya Nakada very well as Tsugumoto. He plays the part so coolly, slow movements, both deliberate and precise. The depth of pain he was able to portray as his character wrestled with the life style of a samurai and their standards , balanced off against the reality of his families health. I my opinion, his acting sold the whole movie.
The emphasis placed on honor, and the discrediting of it, really sent the message that this is a protest. Perhaps the argument that the government was selling them a bill of goods from the pretense of the war down to the ‘Emperor=God’ story. When the emperor was revealed for what he really is, he too is also a symbol without meaning and without purpose. The honor of the soldiers in the war was to die protecting the home land and the emperor; suddenly finding out the great God Emperor was no more super natural than yourself must have been upsetting. I think this correlates to the very end of the film where Tsugumoto argues that the realization that his son in law had sold his swords and that he himself was too proud to do the right thing, and that is to sell them. I also think that Tsugumoto believed that Chijiwa was the better samurai for he had the wisdom to see passed the blade and see the metal.
Unlike many of the films we’ve seen recently in class, it seems to me that there is more to say about Harakiri in terms of its content rather than in terms of its form. There are a few technical aspects of the film that were worth pointing out, such as the return to black and white and the increasingly graphic violence that were mentioned in class, but overall I think that any of Kobayashi’s technical innovations are overshadowed by the overall message of the subject matter. The actual plot of Harakiri seems a little contrived and is fairly predictable, but the important thing is to look at the hidden message reflected by the actual events of the story.
To Kobayashi, the central event of the film – the act of ritual suicide – works as a symbol for the decadent, patriarchal systems of authority in Japan from at least the Tokugawa shogunate up to the end of World War II. In other words, hara-kiri is a system imposed on the samurai/retainer class by the patriarchal authority, under the guise of bushido, which serves as a more or less invented tradition that uses religion to advance political aims. A more accurate way of putting it would be to say that the lower-level authorities – the bureaucrats, politicians, and members of the court, rather than the clan leaders, the shogun or the emperor – are the ones manipulating these traditions for their own purposes. Notice that the absence of the Iyi clan leader is repeatedly mentioned during both Tsugumo’s and Chijiwa’s visits to the castle, allowing the other clan members to plot to force the two ex-samurai to commit suicide in order to save their reputations. Perhaps if Chijiwa was allowed to speak to the clan leader, he would have been more likely to give Chijiwa the money he wanted. Actually this situation underscores the fact that Tsugumo and Chijiwa manipulate the bushido code for their own ends as well. The difference is that the ex-samurai admit it’s superficial, while the authorities work to maintain the illusion that keeps them in power.
The message of the film is one of exploitation of the Japanese people by their traditional authority figures. It would be easy to see Harakiri as an allegory for the perceived deception by the military (and implicitly the emperor) in drawing the nation into World War II; this theme was not new to either Japanese or world literature by 1962, and next week’s film will develop it in even more detail.
Harakiri has been by far the most compelling and graphic film we've watched so far. Even the concept – ritual suicide – is probably quite shocking to western audiences. I know personally even though it is a traditional part of the Japanese culture, in particular during the era depicted, I absolutely abhor the thought of it. Maybe it's my own pacifistic tendencies, but even in an historical context it's upsetting to me to watch suicide, especially when it's forced, as in the film. Chijiwa killing himself with a bamboo sword, and being forced to continue a prolonged and painful disembowelment was about my limit, and there was still nearly two hours left! I suppose it didn't help that I'd been sick all week...
Despite my aversion to the film's themes, the story in and of itself was well depicted through the given medium. The illusion of honour maintained in lieu of actual honour was a very important concept, given the stress on honourable actions that was expected of every samurai in the Edo period. By suppressing the truth and allowing such a dishonourable death as a gun shot to befall the samurai Tsugumo, Saito was committing a wholly unbelievable act. However, as maintaining his house's reputation was far more important to him that honour ever could be. If a lowly Ronin were capable of defeating so many of his men, well...! Just imagine! So he purports rumours of illness among all the deceased – although I'm not really sure how this is a better alternative. Tsugumo, however, seems distinctly aware of everything he has done – disgracing Saito's Samurai retainers as vengeance for his fallen son-in-law, who in trying to protect Tsugumo's daughter and grandson had been forced to die in a most painful fashion, themselves falling to illness not long afterward. Japanese culture of the Edo era reminds me of the Klingons in Star Trek; always fighting for honour and glory, on behalf of their leader, but often the leader turns out to be far more corrupt than the traditional code of honour should ever allow him to become.
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As the mass of solid fuel is melted and consumed, the candle grows shorter. Portions of the wick that are not emitting vaporized fuel are consumed in the flame. The incineration of the wick limits the exposed length of the wick, thus maintaining a constant burning temperature and rate of fuel consumption. Some wicks require regular trimming with scissors (or a specialized wick trimmer), usually to about one-quarter inch (~.7 cm), to promote slower, steady burning, and also to prevent smoking.
I have begun to realize kicking the habit will be very hard. I began cigarettes while I was a kid. It absolutely was the worst mistake I've made. Today 30 years down the road and I have coronary artery disease. I experimented with all the stop smoking gadgets yet none of them helped me. My last try is definitely the e-cigarettes in the end.
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um i think these people don't got kids. Kids go through stages and sometimes they don't want to eat anything. If he's at a healthy weight i wouldn't worry to much about it. Make sure he is getting his daily vitamins, and dress up his food a little. here are some ideas that i have used. Peanutbutter sandwiches cut up to look like monkeys. (kids love this one) carrots turned into a smiley face with ranch for a nose. tell them brocolli is trees, just get creative and most important don't try and make them eat anything your not eating cuz it won't happen.
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Film history is such an intriguing topic. In my film history class, we watched some of the first great films, such as Battleship potemkin. It made me want to consider a degree in RTF, but I'm just not sure what I would do with it..
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Really good to read the comments here, although I do think half the people do seem to be writing before they are thinking.
Good luck getting people behind this one. Though you make some VERY fascinating points, youre going to have to do more than bring up a few things that may be different than what weve already heard. What are trying to say here? What do you want us to think? It seems like you cant really get behind a unique thought. Anyway, thats just my opinion.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
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Between me and my husband we've owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I've settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.
The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)
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If you are sitting on the fence about this article, then let me tell you from experience, i tried it and it is a high quality product, but people buying from different sources will always have an opinion, or if they got screwed over then they will give negative reviews, which i dont think is correct.
To be perfectly honest i think the vast majority of people will agree with this, but you always get some people who will disagree.
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Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
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Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
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Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.
This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.
Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.
Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
Wow, posts like this are what keep me coming back to this site. I question what it would mean to the GOPs effort to weaken overreach.
I feel like the GOP are just to profit motivated to really say anything ever, i suppose they have them they are just to much of wusses to ever really yell out their idea/s.
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This was novel. I wish I could read every post, but i have to go back to work now... But I'll return.
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I feel like the GOP are just to scared to really say anything ever, i suppose they have them they are just to much of sissies to ever really yell out their idea/s.
Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.
The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.
Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.
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This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.
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After I initially commented I clicked the -Notify me when new feedback are added- checkbox and now each time a comment is added I get four emails with the identical comment. Is there any manner you'll be able to remove me from that service? Thanks!
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If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
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This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.
There are certainly a couple more details to take into consideration, but thank you for sharing this information.
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Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
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If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
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Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.
Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
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I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)
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And the 59-Fifthys, the revolutionary age group likewise created different truck caps including 49Forty, 39Thirty, as well as 29Twenty. The actual 49Forty can be a measured, cheaper shape nephew for the 59Fifty, as well as features a far more laid-back, collegiate appearance. The actual 39Thirty can be a toughness suit limit,Detroit Lions jerseys, as well as being employed by MLB as being the batting train limit. It's 62% polyester as well as 38% constructed from wool, as well as features a delicate nylon uppers experience. The actual 29Twenty is definitely an variable, unstructured limit. The revolutionary age group truck caps get created countless different truck caps, nevertheless commonly between every one of the truck caps is the 59-Fifthys. The actual 59-Fifthy can be a methodized, measured, 100% polyester limit which can be damaged simply by Big Little league Ice skating participants as well as umpires through level of competition. The actual manufacturer realization involving Brand new Age group as well as "59-Fifty" features took the actual limit getting a well known manner ingredient, in particular mirrored with urban & hip-hop lifestyle. Between every one of the 59-Fifthy's how the brand new age group yields, by far the most prevalent as well as favorite limit will be San francisco Yankees 59FIFTY Chiseled costs limit. Though the revolutionary age group truck caps delivers many "59-Fifty" truck caps, brand new age group corporation's nearly all notable as well as incomparable limit is usually patterned having a chiseled limit costs. Here is the model most in-demand together with urban people, with obtained the actual model coming from their dominance with rap & hip-hop lifestyle. Nevertheless celebrity as well as reputation just isn't a common situation how the brand new age group features challenged, but in addition quite a few trivial scandals. Inside the the summer months involving 07, brand new age group on your own ripped in two 3 truck caps coming from cabinets in the united states since the patterns for the truck caps had been witnessed being gang-related. An innovative age group spokesperson suggested how the firm doesn't industry to help gangs while notified simply by activist communities as well as open public officers, the organization required fast measures. For additional details about the revolutionary age group truck caps, check out Streezwear in online world. streetzwear. com.How to look at MLB Satisfies at IpadMLB suggests Majot Little league Ice skating and it's also widely known as the single most well-known sporting activities with U . s .. Firdt of I can handle track record on this online game understanding that extends back to help 1876 in period range which will indicates in which this is the fairly previous online game. Given that their development, presently there was countless modifications with their principles as well as polices. Modifications usually are unavoidable plus they occur hour and hour as well as in line with this information past big transform had been built with JULY 2004. Big Little league Ice skating includes 2 primary little league ie U . s . Little league as well as Nationwide Little league composed of involving 15 as well as SIXTEEN coaches and teams rspectively. Each and every little league is usually more sub-divided in THREE OR MORE partitions often known as Main, Far east as well as Western. Interleague adventures had been regarding initially launched with calendar year 1997. With calendar year 2000 the actual U . s . as well as Nationwide Leagues had been dissolved in eachother also it shaped Big Little league Ice skating. MLB satisfies usually are trialled virtually at day-to-day schedule as well as MLB addicts is unable to purchase to help forget just one taken. Although you may check out the actual agenda you can find in which available as one solo evening there are many satisfies involving a bunch of leagues amidst eachother. Individuals are devoted within their day-to-day livelihood as well as is unable to purchase to help go by TELEVISION as well as merely view every one of the satisfies totally wasting occasion. Most people have acquired accessibility at their own computer systems as well as notebook computers thus if he or she have occasion, some people view every one of the satisfies. Nevertheless this is simply not the answer involving difficulty while near personal computer can also be impossible the entire day as well as presently there need to be a different supplied to help audiences as well as enthusiasts to savor a bunch of flexibilty with resides. While technological innovation features advenced in particular in the event involving apple company systems, a growing number of innovative developments will also be developing really fast. These kind of systems just like ipa, ipod touch, itouch new generation ipod, universe tab along with equivalent mobile phone systems usually are much simpler to transport as well as they are often powering TELEVISION too personal computer. Exactly what if you view the identical satisfies together with superior ability to move? The right formula is usually of course and after this there exists a software program which can be inexpensive as compared to other and it's also authorized too which will means that you can view every one of the MLB satisfies as well as all kinds of other sporting activities on the internet perfect against your hands. For additional details about the actual software program remember to stick to this particular connection.The theme of the related articles：
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The Kodak PlaySport : THE Water-resistant CameraIn case you are browsing to getting a camcorder which is water resistant since it will be light-weight along with strong, subsequently your Kodak PlaySport Zx3 is a selection to suit your needs. That stream-lined elegance is admittedly because resilient since it would seem along with can maintain your old partying requirements along with family vacation exploits possible! Your soft-touch outdoor from the digicam causes it to become very simple on your own in order to easily tackle that should you be in the garden and also inside waters. It can be smooth along with distinctive design and style will be exceptional yet often takes quite a few being employed in order to specifically if you're seeking to incorporate your digicam along with you relinquish the straight location although taking pictures the related video tutorial. All the includes a customer can ever previously seek out will be included in the most current PlaySport Zx3 HARLEY-DAVIDSON Water resistant Camcorder. They have similar screen top quality because alternative Kodak camcorders and also although regular with this type of digicam will be 1080p, they have alternative adjustments out there. Most of 720p/60fps function along with the VGA environment can be bought specifically utilize upon physical activities along with fast-paced actions. The main explanation intended for shelling out within the Kodak PlaySport Zx3 is always that even though you might be twenty foot beneath your outside,NFL Seattle Seahawks #84 T.J. Houshmandzadeh Authentic White Jer, you can continue to have snap shots along with video clips so it will be immune in order to waters. Your plug-ins, SD unit card along with electric battery are generally stored protected via waters destruction along with form by simply secured handles. 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Atlanta Braves earned your FIFTY-TWO suits along with misplaced 36 suits into their profession thus far. Inside previous EIGHT suits, Atlanta Braves earned 7 suits along with misplaced some suits. Jair Jurrjens RHP is probably the possible beginners inside Atlanta. He's 1-3, SOME. 45 document this season. Observe along with Take pleasure in Milwaukee Systems as opposed to Atlanta Braves Recommendations the following. Observe along with Enjoy Milwaukee Systems as opposed to Atlanta Braves Recommendations the following.The theme of the related articles：
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