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Kinugasa Teinosuke’s 1926 film A Page of Madness (Kurutta ichipeiji) is celebrated as one of the masterpieces of silent cinema. It was an independently produced, experimental, avant-garde work from Japan whose brilliant use of cinematic technique was equal to if not superior to that of contemporary European cinema. Those studying Japan, focusing on the central involvement of such writers as Yokomitsu Riichi and the Nobel Prize winner Kawabata Yasunari, have seen it as a pillar of the close relationship in the Taisho era between film and artistic modernism, as well as a marker of the uniqueness of prewar Japanese film culture. But is this film really what it seems to be? Aaron Gerow brings meticulous research to the film’s production, distribution, exhibition, and reception and closely analyzes the film’s shooting script and shooting notes, which were recently made available. He draws a new picture of this complex work, revealing a film divided between experiment and convention, modernism and melodrama, the image and the word, cinema and literature, conflicts that play out in the story and structure of the film and its context. A Page of Madness, a film fundamentally about differing perceptions and conflicting worlds, was received at the time in different versions and with varying interpretations, and ironically, the film that exists today is not in fact the one originally released. Including a detailed analysis of the film and translations of contemporary reviews and shooting notes for scenes missing from the current print, Gerow’s book offers provocative insight into the fascinating film A Page of Madness was—and still is—and into the struggles over this work that tried to articulate the place of cinema in Japanese society and modernity.
Written for the discerning science fiction reader, the book races from the creation to apocalypse and from the ordinary to utter insanity, while the fire smoldering between the words may indeed set preconceptions alight. He who doesn't lose himself doesn't understand or he who understands loses himself. Translated seamlessly by English writer and translator Feyza Howell.
"Originally serialized in the February, March, and April 1936 issues of Astounding stories"--Copyright page.
Dr. Gabriella Mondini, a strong-willed, young Venetian woman, has followed her father in the path of medicine. She possesses a singleminded passion for the art of physick, even though, in 1590, the male-dominated establishment is reluctant to accept a woman doctor. So when her father disappears on a mysterious journey, Gabriella's own status in the Venetian medical society is threatened. Her father has left clues -- beautiful, thoughtful, sometimes torrid, and often enigmatic letters from his travels as he researches his vast encyclopedia, The Book of Diseases. After ten years of missing his kindness, insight, and guidance, Gabriella decides to set off on a quest to find him -- a daunting journey that will take her through great university cities, centers of medicine, and remote villages across Europe. Despite setbacks, wary strangers, and the menaces of the road, the young doctor bravely follows the clues to her lost father, all while taking notes on maladies and treating the ill to supplement her own work. Gorgeous and brilliantly written, and filled with details about science, medicine, food, and madness, The Book of Madness and Cures is an unforgettable debut.
The untold story of King Nebuchadnezzar’s daughter For seven years the Babylonian princess Tiamat has waited for the mad king Nebuchadnezzar to return to his family and to his kingdom. Driven from his throne to live as a beast, he prowls his luxurious Hanging Gardens, secreted away from the world. Since her treaty marriage at a young age, Tia has lived an opulent yet oppressive life in the palace. But her husband has since died and she relishes her newfound independence. When a nobleman is found murdered in the palace, Tia must discover who is responsible for the macabre death, even if her own freedom is threatened. As the queen plans to wed Tia to yet another prince, the powerful mage Shadir plots to expose the family’s secret and set his own man on the throne. Tia enlists the help of a reluctant Jewish captive, her late husband’s brother Pedaiah, who challenges her notions of the gods even as he opens her heart to both truth and love. In a time when few gave their hearts to Yahweh, Tia must decide if she is willing to risk everything—her possessions, her gods, and her very life—for the Israelites’ one God. Madness, sorcery, and sinister plots mingle like an alchemist’s deadly potion as Tia chooses whether to risk all to save the kingdom—and her family. “The biblical story of Babylonian King Nebuchadnezzar’s seven years as a madman, found in the Old Testament Book of Daniel, deepens and broadens thanks to veteran author Higley’s historical research and vivid imagination . . . Readers will find much to enjoy here: fine writing, suspense, mystery, faith, love, and a new look at an old story.” —Publishers Weekly “Higley gives readers a dose of biblical history set in King Nebuchadnezzar’s palatial gardens and a character like no other in Tiamat, devoted daughter of a king gone mad. The author’s insights into a woman’s inner strength as she searches for the one true God will leave readers rejoicing.”—Romantic Times TOP PICK "Her story will appeal not just to readers of historical fiction but also to those with an interest in biblical history." —Booklist
The Cinema of Japan and Korea is the fourth volume in the new 24 Frames series of studies of national and regional cinema, and focuses on the continuing vibrancy of Japanese and Korean film. The 24 concise and informative essays each approach an individual film or documentary, together offering a unique introduction to the cinematic output of the two countries. With a range that spans from silent cinema to the present day, from films that have achieved classic status to underground masterpieces, the book provides an insight into the breadth of the Japanese and Korean cinematic landscapes. Among the directors covered are Akira Kurosawa, Takeshi Kitano, Kim Ki-duk, Kenji Mizoguchi, Kinji Fukusaku, Kim Ki-young, Nagisa Oshima and Takashi Miike. Included are in-depth studies of films such as Battle Royale, Killer Butterfly, Audition, Violent Cop, In the Realm of the Senses, Tetsuo 2: Body Hammer, Teenage Hooker Becomes a Killing Machine, Stray Dog, A Page of Madness and Godzilla.
Why do some men become convinced—despite what doctors tell them—that their penises have, simply, disappeared. Why do people across the world become convinced that they are cursed to die on a particular date—and then do? Why do people in Malaysia suddenly “run amok”? In The Geography of Madness, acclaimed magazine writer Frank Bures investigates these and other “culture-bound” syndromes, tracing each seemingly baffling phenomenon to its source. It’s a fascinating, and at times rollicking, adventure that takes the reader around the world and deep into the oddities of the human psyche. What Bures uncovers along the way is a poignant and stirring story of the persistence of belief, fear, and hope.
It is true that little is known about the mind and for that matter the mind in the state of derangement. This book does not unlock the secrets of either but it does give the reader a look into the different states and perhaps possible causes that lead to insanity. The author provides a collaboration of letters taken from history that describes the point of view of the patient and their families as well as the physicians who dealt with the patients.
A riveting autobiography of Yamamoto Satsuo (1910-83), one of the most important and critically acclaimed postwar Japanese film directors
Remarkably little has been written on the subject of modernism in Japanese fiction. Until now there has been neither a comprehensive survey of Japanese modernist fiction nor an anthology of translations to provide a systematic introduction. Only recently have the terms "modernism" and "modernist" become part of the standard discourse in English on modern Japanese literature and doubts concerning their authenticity vis-a-vis Western European modernism remain. This anomaly is especially ironic in view of the decidedly modan prose crafted by such well-known Japanese writers as Kawabata Yasunari, Nagai Kafu, and Tanizaki Jun’ichiro­. By contrast, scholars in the visual and fine arts, architecture, and poetry readily embraced modanizumu as a key concept for describing and analyzing Japanese culture in the 1920s and 1930s. This volume addresses this discrepancy by presenting in translation for the first time a collection of twenty-five stories and novellas representative of Japanese authors who worked in the modernist idiom from 1913 to 1938. Its prefatory materials provide a systematic overview of the literary movement’s salient features—anti-naturalism, cosmopolitanism, the concept of the double self, and actionism—and describe how modanizumu evolved from its early "jagged edges" into a sophisticated yet popular expression of Japanese urban life in the first half of the twentieth century. The modanist style, characterized by youthful exuberance, a tongue-in-cheek tone, and narrative techniques like superimposition, is amply illustrated. Modanizumu introduces faces altogether new or relatively unknown: Abe Tomoji, Kajii Motojiro, Murayama Kaita, Osaki Midori, Tachibana Sotoo, Takeda Rintaro, Tani Joji, Yoshiyuki Eisuke, and Yumeno Kyusaku. It also revisits such luminaries as Kawabata, Tanizaki, and the detective novelist Edogawa Ranpo. Key works that it culls from the modernist repertoire include Funahashi Seiichi’s Diving, Hagiwara Sakutaro’s "Town of Cats," Ito Sei’s Streets of Fiendish Ghosts, and Kawabata’s film scenario Page of Madness. This volume moves beyond conventional views to place this important movement in Japanese fiction within a global context: an indigenous expression born of the fission of local creativity and the fusion of cross-cultural interaction.