Salut! Citesc zilele astea Arhipelagul Gulag și aproape că îmi vine să mă sinucid (de întristare și oroare), așa că aș avea nevoie de ceva mai light, mai plăcut și mai puțin dens, pentru a restabili echilibrul universului. Aş prefera să evit cărțile care intră într-un gen anume (romance, polițiste, etc.) Ca referință, mi-au plăcut aproape toate cărțile de Murakami și sunt fan al avangardei. Aveți ceva recomandări? Cărțile pot fi în română sau engleză. Cu franceza e mai greu oleaca...
عصا «سيلفي» وشواحن محمولة وسماعات لاسلكية متقدمة الثلاثاء - 6 ذو الحجة 1438 هـ - 29 أغسطس 2017 مـ رقم العدد [ 14154] 📷 شاحن محمول - عدسة إضافية للهاتف لندن: «الشرق الأوسط» عندما تشتري لنفسك هاتفاً ذكياً جديداً، كيف يمكنك أن تستفيد من أفضل الميزات التي يقدمها؟ عليك بالإكسسوارات، كما يقول بعض الخبراء. لكل هاتف يمكن للمستخدم أن يشتريه، كثير من الأدوات المضافة التي تحسن الأداء وتتميز عن الإكسسوارات الأخرى؛ ابتداء من تحديثات سماعات الأذنين، ومكبرات بلوتوث للصوت لتعزيز صوت الموسيقى، وانتهاء بالأغطية التي تحمي الهاتف من الأضرار. ولكن يجب أن تحرص أن تكون تلك الإضافات الأحدث، خصوصا أن الخيارات المتاحة كثيرة. وهنا بعض النصائح من موقع «انغادجيت» التقني البريطاني التي ستساعد المستخدم في اختيار إكسسوارات الهواتف الذكية التي تستحق الإنفاق عليها. -- إضافات التصوير - إضافات السيلفي: تزداد شعبية الصور الذاتية (السيلفي) وصور البورتريه الشخصية أكثر فأكثر، مما حثّ مصنعي الهواتف الذكية على التركيز أكثر على الكاميرات الأمامية، وكانت آخرها كاميرا «هواوي بي10» التي تقدم للعالم أول عدسة «ليكا» للسيلفي في هاتف ذكي. في حال كان المستخدم يملك عصاً للسيلفي، فيجب أن يجرب أداة «ألترا برايت سيلفي لايت»، (27 دولارا)، Ultra Bright Selfie Light، التي تثبت على أي هاتف ذكي (لها 36 من الصمامات الثنائية الضوئية LED) لتوفير إضاءة أفضل، وإشعاع أفضل لتوفير الوضوح الأكبر للصورة. - عدسات الكاميرا: في حين توفر هواتف متقدمة مثل «سوني إكس زي بريميوم» و«آيفون7» عدسات كاميرا فعالة، لمحبي التصوير الذين يرغبون في الارتقاء بصورهم دون شراء كاميرا باهظة الثمن، فإن بمقدورهم أن يستعينوا بعدسة إضافية. وتوفر عدسة «أولوكليب كور لينس»، (132 دولارا)، Olloclip Core Lens Set، لهاتف «آيفون7». و«آيفون7 بلاس»، من بينها عين السمكة، والزاوية الواسعة، والعدسات المكبرة في قطعة صغيرة تلتصق فوق كاميرا الجهاز. يذكر أن أصحاب هواتف «آندرويد» و«آيفون» يمكنهم أن يستفيدوا من نسخ مخصصة لهواتفهم. - طابعة الصور: بعد التقاط أجمل الصور، قد يرغب المستخدم في تحويلها إلى صورة عادية للذكرى، بدل تركها منسية في ألبوم الكاميرا أو ألبومات «فيسبوك». هنا يمكنه أن يستفيد من طابعة الجيب التي تأتي بحجم صغير لحملها باليد، بحجم هاتف ذكي تقريباً. من بين هذه الطابعات «إتش بي سبروكيت فوتو برينتر»، (132 دولارا)، التي تتصل بهواتف«آيفون» و«آندرويد»عبر بلوتوث ويمكن أن تستخدم لإنتاج صور بحجم 2×3 بوصة. -- أغطية وشواحن - أغطية فخمة: كثيرة هي الإكسسوارات التي يختارها المستخدم، إلا أن غطاء الهاتف لا بد أن يكون أولها. وتكثر الخيارات المتاحة من هذه الإكسسوارات؛ من تلك المضادة للمياه، إلى البلاستيكية الشفافة منها. ولكن في حال كان مالك الهاتف يرغب في خيار أكثر فخامة، فيمكنه أن يختار من مجموعة «باستيل»، Pastel Collection، أو تلك المصنوعة من جلد النوبوك من «سنيكهيف»، (28 دولارا)، التي تقدم له ملمسا راقياً دون أن يدفع مبالغ طائلة. هناك أيضاً الأغطية التي تأتي على شكل محفظة تتضمن جيوبا خاصة للبطاقات البنكية، وطبقة قابلة للطي، وهي متوفرة لـ«آيفون» و«آندرويد» بخيارات كثيرة. - شاحن محمول: مع إمضاء الناس مزيدا من الوقت في استخدام هواتفهم، من تحديث «إنستغرام» إلى مشاهدة مسلسلهم المفضل عبر «نيتفلكس»، لا بد أن البطارية لن تخدمهم طويلاً. لهذا السبب، يُنصح المستخدمون بالاستعانة بشاحن محمول. يوفر «إس تي كاي فاست فيول 15كي»، (66 دولارا)، STK Fast Fuel 15K، شحنة هائلة تصل إلى 15 ألف ملي أمبير في الساعة، التي تصلح لشحن الهاتف 6 مرات متتالية. كما تدعي «باكينغ كوالكوم كويك تشارج»، Packing Qualcomm Quick Charge، للتكنولوجيا أنها قادرة على شحن الهواتف الذكية 4 مرات أسرع ممن الشواحن التقليدية. -- سماعات ومكبرات - سماعات الرأس: يأتي كثير من الهواتف الذكية الحديثة والغالية مع سماعات الأذنين الخاصة بها. ولكن في حال كان المستخدم من محبي الموسيقى العالية، فلا بد من أنه سيبحث عن إكسسوار أكثر حداثة. هناك كثير من الخيارات المتوفرة التي تناسب محبي الرياضة بسبب مقاومتها التعرق وقدرتها على عزل الأصوات المحيطة خلال الجري أو في وسائل النقل المشتركة. توفر سماعة «أوديو تكنيكا»، (105 دولارات)،ATH - CKR70iS، نوعية ممتازة للصوت وبسعر معقول. تمتاز هذه السماعة بمسرعات ديناميكية رائعة للصوت، وبميكروفون صغير يتضمن أزرارا لاستقبال وإنهاء الاتصال والتحكم بالموسيقى. - مكبرات الصوت: حتى لو كانت مكبرات الصوت الموجودة في الهاتف جيدة، فإنه مكن للمستخدم أن يقدم لها دعماً، خصوصا في حال كان يحب مشاركة الموسيقى مع أصدقائه. الخيارات الأقوى متوفرة دائماً لإعدادات أكبر كالحفلات. وفي حين أن مكبرا صغيرا للجيب يمكن أن يفي بالغرض، فإن المكبرات الدائرية الصلبة تظلّ دائماً الخيار الأفضل. يتميز مكبر «جي بي إل فليب 4»، (158)، JBL Flip 4، العامل بتقنية بلوتوث، بحجم صغير قابل للحمل، ولكنه يخبئ ميزات صوتية هائلة، بالإضافة إلى 12 ساعة من الخدمة، والأفضل أنه مضاد للماء، مما يجعله مثالياً للحمل إلى جانب حمام السباحة. اذاكنت تريد باسعار غير قابله للمنافسة سوف تجدها هنا أضغط هنا
kennt jemand ein gutes Buch was man zum 16. Geburtstag Verschenken kann?
Mein Neffe wird 16 und ich würde ihm gerne ein Buch schenken. Gerne etwa was einem ein bisschen daran bestärkt man selbst zu sein und sich nicht von gesellschaftlichen Normen zu etwas gedrängt werden soll. Oder etwas was ihn daran bestärkt selbstbewusst zu sein und auf sich zu hören und gleichzeitig Respekt voll mit anderen (und dem anderen Geschlecht) umzugehen. Eben etwas was jungen Erwachsenen so ein bisschen in ihrer Findungsphase unterstützt ohne aufdringlich zu sein oder irgendwie peinlich zu wirken sondern eben eher Erwachsen und nicht für Teenager. Ich hab leider Nichts gefunden was mich so richtig zufrieden stellt entweder war es mir von der Aufmachung zu kindisch (also eher an jüngere gerichtet) oder es war nicht ganz der Ton den ich gerne hätte. Ich muss aber auch sagen ich kann die Bücher ja nur anhand des Klappentext beurteilen da ich mir Legasthenie es nicht schaffe Mal schnell Bücher Probe zu lesen. Wäre für einen Tipp sehr dankbar.
وقال السفير: "ساهم ارتفاع الطلب والاهتمام من دولة الإمارات العربية المتحدة بشكل كبير في العلاقات الثنائية بين الإمارات و دومينيكا وفي إنشاء سفارة دومينيكا في أبو ظبي و القنصلية العامة في دبي".
ستلعب السفارة دوراً مهماً في تسهيل الخدمات للعدد المتزايد من مواطني دومينيكا المقيمين في الإمارات العربية المتحدة والشرق الأوسط، مثل تسليم جواز السفر و تجديد جواز السفر و وثائق عدم الممانعة و توثيق المستندات. أعرب العديد من المستثمرين الذين حصلوا على جواز سفر دومينيكا و تقدموا إلى البرنامج أثناء وجودهم في دبي عن تقديرهم للسفارة الجديدة في دولة الإمارات العربية المتحدة. كما أشار السفير هوبير ج. تشارلز المحترم إلى معرض دبي إكسبو ٢٠٢٠ كفرصة تسويقية كبرى لدولة دومينيكا و برنامج جنسيتها عن طريق الاستثمارالناشط منذ عام ١٩٩٣. "يعد معرض دبي إكسبو ٢٠٢٠ فرصة رائعة لتسويق البرنامج، وكسفارة نريد أيضاً تشجيع المواطنين الدومينيكان في دبي على المشاركة في الأنشطة التي ستقام في السفارة خلال المعرض" - صرح سعادة السفير هوبرت ج. تشارلز. "لقد كنا متحمسين للغاية للتأكد من أننا داعمون بقدر الإمكان لمواطنينا، ليس فقط كحكومة ولكن كمواطنين أيضاً".
"على مدار أكثر من ٢٠ عاماً، التزمت الحكومة التزاماً تاماً بالبرنامج و أدخلت تحسينات كبيرة و موضوعية عليه"
قال سعادة السفير هوبرت ج. تشارلز المحترم إنه بصرف النظر عن وجود برنامج للمواطنة يركز على جلب الاستثمار إلى الجزيرة، فإنهم "يريدون تعظيم التفاعل بين المواطن و البلد إما عن طريق الاستثمارات أو السياحة أو زيادة المعرفة بالبلد".
"نريد أن نشجع أهمية وجود مستثمرين جدد في الجزيرة، كما نريد مواطنين أكثر انخراطاً في البلد ".
يجذب معرض دبي إكسبو ٢٠٢٠ اهتمام الآلاف من المستثمرين من جميع أنحاء العالم بإمارة دبي. حيث ستكون هذه فرصة مثالية لعرض البرنامج كواحد من أكثر الخيارات الموثوقية للحصول على جواز سفر ثانٍ من دول البحر الكاريبي. نوقشت جوانب أخرى تمس البلاد و نموها الاقتصادي خلال الاجتماع، بما في ذلك الافتتاح المقبل لمطار دولي جديد لمجموع ثلاثة مطارات جدد و ميناء جديد. توقع عزيزي القارئ المزيد من التفاصيل قريباً. تم تأسيس برنامج الجنسية عن طريق الاستثمار في عام ١٩٩٣ من قبل حكومة كومنولث دومينيكا، وهو أحد أقدم البرامج الفعّالة للجنسية الاقتصادية في العالم. على مدار أكثر من ٢٠ عاماً، ظلت الحكومة ملتزمة تماماً بالبرنامج و أدخلت تحسينات كبيرة و موضوعية عليه.
Welche fantastischen Bücher wurden als Filme furchtbar umgesetzt?
Ich komme auf die Frage, da ich diese Woche Naokos Lächeln / Norwegian Wood von Murakami gelesen habe und danach den Film geschaut habe. Das Buch hat mir eigentlich wirklich gut gefallen, der Film hingegen gar nicht. Ich hatte oft das Gefühl, dass der Film die falschen Aspekte betont und stellenweise gar nicht versteht, was im Buch eigentlich wichtig war. Außerdem werden Charaktere im Film anders porträtiert (Verhalten und auch Aussehen) als es im Buch der Fall ist. Und trotz 2 Stunden Laufzeit versteht man die Beweggründe der Charaktere kaum ohne das Buch gelesen zu haben, die meisten bleiben völlig eindimensional.
HELLO, as promised it did not take a whole 7 months for this part. I have a lot of fun writing this, and it makes me happy to see people reading it. Hope you enjoy it! Before the story begins, I want to do a quick re-introduction to the major characters so far. In no particular order: UNITED STATES OF AMERICA
Qhill Kreestu [Quill Kree-Stew] - Alien Captain of the science vessel {TO WREST ANSWERS FROM THE UNKNOWN} looks like a bipedal crocodile with slightly elongated spikes running down their back to their tail. kinda like a mini-Godzilla. Trekruix Fedhi [Tree-Crux Fed-He] - Alien Biologist aboard Qhill's ship, looks like a hawk aarakocra from Dungeons and Dragons. Aevi Dinirs [Avee Den-eers] - Alien Biologist in Training (Trekruix's assistant) aboard Qhill's ship, looks like an owl aarakocra from Dungeons and Dragons. Officer Un’al [UNE-ALE] - chief of security aboard Qhill's ship. - Looks like a blue scaled Kobold from Dungeons and Dragons. Ensign Elnai [ELL-NAY] - is a security "officer" under Un'al, aboard Qhill's ship. - also looks like a bipedal crocodile but with less pronounced back and tail spikes. Engineer Nislo [KNEE-SLOW] - is an engineer aboard Qhill's Ship. - looks kinda like a red scaled Kobold with the lower half of a large red scaled snake.
Yes, I know, there is only one "MAJOR" character for the Japanese force introduced so far, this is because for the operational theatre that I happened to choose, Tei Monzen was the ONLY commander on the airfield, and according to history, he and (almost) all of his troopsRAN AWAYduring the American bombardment during their landing, just leaving the airfield open to the Allied forces to just, take and finish and use against the Japanese. See paragraph 3 of the provided link, listed as Captain "Kanae" Monzen, not sure if it is a misrepresentation because everywhere else lists him as Captain " Tei" Monzen, including official records. so, I am going to use the name that shows up in the official records. But I also want to quickly introduce the two groups of soldiers from the American, and Japanese sides as these groups will be this story focus. AMERICAN GROUP - All names are randomly generated so any names that resemble any persons, real or fictional, alive, or dead is completely coincidental.
Lyle [Lie-EL] Powers - Radioman Arnold Powers - Field Medic Dakota Schumacher - Rifleman A - Company Leader Elmer Rhodes - Rifleman B Clifford Dudley - Rifleman C Fred Conway - Rifleman D
JAPANESE GROUP (using same troop conventions as the American group so I can keep things organized) These are written surname first, given name second. All names are randomly generated so any names that resemble any persons, real or fictional, alive, or dead is completely coincidental.
Aoki Takuya - Radioman Murakami Naoto - Field Medic Kato Daichi - Rifleman A - Company Leader Shimizu Ryouta - Rifleman B Shimizu Yuudai - Rifleman C Okada Yuuto - Rifleman D
I apologize for this long-winded introduction. SO, without further adieu, THE STORY! -----PAGE BREAK----- --AMERICAN SCOUT GROUP-- Under the cover of night the American Commanders decide to send out a small group to scout out the object that had landed on the island. this group consisted of 4 riflemen, a radioman, and a medic. One of the four riflemen was designated as the leader and given orders to secure the immediate area around the object as well as the object itself. The group moves keeping the coast to their left and the landing camp to their backs. the journey will take them the majority of the night, not much conversation is made until the object is visible through the trees, as well as a 2km wide crater and ditch that was created by the impact of the craft. "Shit," Clifford said, "That's one hell of a hole." His statement is met by nods of affirmation from the rest of the group. "Alright. Cliff, I want you, Fred and Lyle to secure the perimeter, Myself, Arnie and Elmer are going to investigate the... Object." Dakota says before starting forwards. The whole group moves and eventually splits to cover their respective objectives. "Damn.. This thing's 'bout as big as the Portland)..." Commented Arnie. "Yea, and about twice as wide." Added Dakota. The group of 3 continued slowly forwards towards the base of the crater. --Japanese Scout Group-- Daichi was having a fairly shitty day, He and a few others were chosen to investigate the strange object that made landfall a ways away from the airfield. That would have been fine if he, and his group, had the chance to sleep. But between the mad scramble to shore up the airfield defences as well as preparing for this mission, they had no chance to catch sleep. And so, the group was a bit sluggish, but still alert when they arrived at the northwestern edge of the crater, then they heard voices, the Americans were here too. Swearing to himself he turned to his group and began to give orders. "Ryouta, take your brother and Takuya and go around the north side of the crater, Myself, Naoto and Yuuto will take the south side, stay in the trees and wait for my signal before engaging. --AMERICAN SCOUT GROUP-- Clifford, Fred and Lyle began making a clockwise sweep around the rim of the crater while Dakota and his team went deeper in to investigate the object, nobody wanted to call it a ship, for that had certain implications and nobody wanted to consider those right now. The atmosphere grew tense as the group made it to the West edge of the crater. "It's too quiet," Whispered Fred, "I don't Like it, I expected to get jump by the Japs by now..." AN: Did the Japanese use any slurs or anything like that for Americans? or are we just that shitty of a people when it comes to Dehumanising our enemies? PS. If the use of Derogatory terms makes you uncomfortable, Good, its meant to. This is a story about WWII, but with Aliens, these terms are real, and they are still used by some groups. Don't worry, i'm not so horrible as to actually ENJOY using these terms, they leave a bad taste in my mouth too. "I don't know, Maybe they don't care as much as the brass does." Said Clifford, "It's not like they aren't a little preoccupied, what with our troops trying to find a way through their defensive." -IN THE CRATER- Dakota and his group began inspecting the eastern side of the object slowly walking to the north side of it, following burn marks and holes that progressively got bigger until they found one that they could comfortably fit in. While Dakota peered in, Arnold and Elmer watched the upper edge of the crater and occasionally looked back the way they came. "looks clear enough, although, what I assume to be the floor and ceiling are now the walls, so we need to be careful." Dakota Warned before Stepping inside and motioning for the other two to follow. --Japanese Scout Group-- Daichi watched as the group of three made their way to the west edge of the crater and readied his rifle. Seeing him ready, Naoto and Yuuto raised their rifles as well, after a pregnant pause they all fired at once. The sound and subsequent response from the other half of their team threw the Americans into a panic. And almost immediately they were being fired at as they dragged one of their wounded comrades to safety. Daichi and his group fired a few more times trying to avoid being hit before the Americans got to cover, but no more hits were had from either side. On the other side of the crater however, Ryouta, his brother Yuudai and Takuya rushed to the crater edge and began firing at the ground around the object. Realising that there was no enemy there they began moving around the edge of the crater back to the more northern side until they spotted an American being yanked inside the object by... well, something, and to be honest they didn't particularly want to find out. Moving back around towards the northwest edge of the crater they came upon a group of 3 more americans, one of them appeared to be wounded. Ryouta and his group did not hesitate to open fire. ---ALIEN GROUP--- *Everyone Lay scattered about the bridge. dirt had piled in from a breach in the hull as they slammed into the ground. Trekruix Fedhi found himself awake, seemingly first. Everything hurt, his head hurt, his wings hurt -he hoped they weren't broken... ok yea at least one was- his legs hurt -*Thankfully not broken- and just about everything else was sore. Definitely going to have some bruising. He thought to himself as he began to get up and search about the bridge. Upon standing he realised that something was not right... the floor was to his right, and the ceiling on his left... He was standing on a wall of cracked and shattered viewscreen, only a few feet in front of him was his assistant, fallen into a rather ungraceful position. He fell back onto his medical training as meagre as it was, it was all he had. Check for a pulse, carefully adjust the body so the windpipe and mouth are not obstructed and check for breathing, check for broken or cracked bones if alive. After ascertaining that Aevi would live, he began to move on to check on the rest of the people in the bridge. Around the time that he got to the last person, Aevi and the Captain had awoken, the only other person deemed to be alive, was a security officer and as Trekruix stood and turned towards the captain loud popping sounds could be heard outside, followed fairly swiftly by a much louder "BANG!" Everyone immediately knew that they had landing in a most unfortunate position. --AMERICAN SCOUT GROUP-- Today has gone to shit. Clifford thought. Not only were they surprised by enemy fire from the trees, but as soon as they thought they were out of sight, ANOTHER GROUP of Jap's showed up and started firing at them! Chucking a grenade into the trees and continuing to fire as fast as his gun would let him he prayed that something good might come of this. Lyle had been shot in the first round of fire from the Japanese, he was hit in his torso, and was dragged back to cover, he was trying his best to keep firing but once his gun ran dry of rounds, he didn't have the strength to Reload. Fred had been putting up as much effort as clifford, and they were running out of options, they were only two, and they were being shot at by at least 6 or 7. A lucky shot got Fred's Shoulder, he resorted to his sidearm but didn't last much longer afterwards. Clifford found himself wondering if the other three had the same experience as he was shot, and thought no longer. ---PAGE BREAK--- How does one do an outro when a character they have painstakingly created was mercilessly killed? Like this! The Allies are inside the ship, they have also lost three of their members. The Japanese have reigned their superiority! but they ain't touching that hole with a 39 and a half foot pole now. The aliens are, sort of, OK! mostly cuts and bruises, maybe a broken bone or two... Trekruix is one of two who can accurately set a bone in this ragtag team of aliens. but i'm rambling now. HOPE YOU ENJOYED THIS CHAPTER! I had a lot of fun writing it and a lot more fun figuring out where I wanted this to go. [First] [Prev] [Next]
Es ist verrückt, wie hart es in letzter Zeit für mich ist, zu lesen. Ich kann mich gar nicht darüber konzentrieren, was ich lese und muss alle (buchstäblich, alle) Sätze zweimal lesen. Sogar dann kann ich mich kaum erinnern, was gerade passiert ist. Es macht mir traurig, denn ich liebte als Kind Bücher zu lesen und ich möchte eigentlich die Bookworm-Ästhetik haben; Ich möchte sein das Mädchen, das immer ein Buch, sei es Dostoyevsky, Kafka oder Murakami, in seinem Hand hat. Außerdem ist das Lesen so eine gute und nötige Aktivität, weil es den Wortschatz des Lesers/der Leserin zu erweitern hilft, andere Einsichten zeigt, den Lesedie Leserin mehr analytischer zu denken anleitet und einfach lehrreich ist. Jetzt will ich die Klassiker lesen: “Der Große Gatsby”, “Die Verwandlung”, “Schuld und Sühne” usw… Ich hoffe, dass wenn das Wetter besser und wärmer ist, werde ich mehr in Natur gehen und da lesen. In der Nähe meines Hauses gibt es ein kleines und schönes Flusstal, wo ich mein Buch ruhig und ästhetisch genießen könnte.😌
Diese Frage habe ich schon vielen Menschen gestellt auch auf YouTube usw. und die Menschen haben mir alle wirklich alle Bücher von Murakami empfohlen. Kennt jemand andere gute Werke von einem anderen Autor. Eine Bitte ohne auf den Plot einzugehen, zu erklären wieso,dass das beste Buch ist.
Ich schreibe heute über den Roman, den ich gerade zu Ende gelesen habe. Der Roman heißt “Kafka On The Shore” und wurde von Haruki Murakami verfasst. Ich habe das Buch schon einmal gelesen, aber mein Freund hat mir ein sehr hübsches Exemplar geschenkt. Ich hatte fast die gesamte Handlung vergessen, aber ich habe mich erinnert, dass ich diese Geschichte sehr schön und auch sehr außergewöhnlich gefunden habe. Ich mag die Werke von Murakami, obwohl ich die Endungen ein bisschen enttäuschend finde. Ich lese seine Bücher trotzdem, weil die Welten, die er erschafft, äußerst interessant sind. Ich mag außerdem seinen Schreibstil, vor allem wenn er über alltägliche Situationen beschreibt, wie Kochen oder Putzen. Seit ich zum ersten Mal “Kafka On The Shore” gelesen habe, habe ich die Werke von David Lynch begegnet. Ich habe gelernt, die Fremdheit einfach zu genießen. Dass nicht alles eine Metapher ist oder eine tiefe Bedeutung hat. Dass manche Geschichten einfach sonderbar sind und es vergeblich ist, alles verstanden zu versuchen. Mit dieser neuen Perspektive hat mir Kafka On The Shore noch mehr gefallen als bevor. Jetzt lese ich ein Buch von Agatha Christie und werde ich sicherlich am Ende eine gute Auflösung bekommen!
Den här begåvade individen föddes och växte upp på 1900-talet i Japan. (What year was he born?) Han var författare men hans efternamn är inte Murakami. Han är känd för sin romaner, särskilt i Japan och Taiwan även om många läsare i Europa och Nordamerika känner tyvärr inte till honom” Shuji Tsushima var hans riktiga namn och han var en riktig person innan han blev porträtterad som en fiktiv karaktär i en tecknad serie. Tsushimas liv började ganska bra för hans pappa var rik. På grund av det fick Tsushima en bra utbildning och han studerade även på universitet för att ytterligare fördjupa sig i litteratur. Tyvärr var Tsushimas mor nästan alltid sjuk och hans far avled tidigt. Tsushima skrev mycket på universitetet och startade även en egen tidskrift. Även om Tsushima blev framgångsrik fort så fick hans yrke en törn när R. Akutagawa, en författare som var hans idol och gav honom inspiration begick självmord 1929. Efter detta förändrades Tsushimas liv: han började inrikta sig på vänsterpolitik och Marxism. Han började använda ett annat namn, Osamu Dazai och tyvärr blev han också beroende av droger. Universitetet sparkade ut honom och han flydde med en kvinna som han var förälskad med. Det var ironiskt at Tsushima, eller Dazai, blev allt mer arbetsam som skribent på 1930–talet när saker i samhället förändrades till det sämre. Poesi, noveller och romaner blev producerades under det hans nya namn med uppfräschad stämning i texten, bland annat nedslagenheten som han upplevde som en vänsterperson emellan nationalisms uppgång under Kejsar Hirohitos styrande. Osamu försökte ta sitt liv två gånger men misslyckades medan en av hans älskare dog istället. Den sista romanen av Daizai heter “No Longer Human.” och har översatts till engelska. Denna bok är hans mest berömda verk. Daizai försökte begå självmord en tredje gång med en annan kvinna och denna gång lyckades han. Dazai är egentligen en geni och missförstods under sin egen tid.
Hittade ingen svensk bok-subreddit så jag postar här istället… Började läsa ”Kafka på stranden” här om dagen och älskar det hittills (snälla spoila inte!!). När jag köpte den sa en dam att hon läst Murakamis böcker både på svenska och på engelska och att de engelska översättningarna ska vara mycket bättre. Tänkte att det inte borde spela någon större roll eftersom båda var översättningar, men hittade Kafka on the shore (alltså på engelska) hemma för några dagar sedan. Bör jag switcha? Läste ett kapitel och det kändes ganska likt den svenska översättningen så jag undrar om jag missar något av att läsa på svenska eller om jag borde fortsätta läsa på svenska?
Suche "leichte" Kost für Urlaub - aber gut geschrieben
Hallo Zusammen, ich fahre demnächst 2 Wochen in den Urlaub und bin daher auf der Suche nach ein paar Büchern für den Strand. Da ich ein wenig abschalten will sollten diese nicht ganz so anspruchsvoll sein. Das Problem ist, dass Romane, Krimis oder Fantasy-Bücher die ein wenig einfacher sind meiner Meinung nach oft so schlecht geschrieben sind. Habt ihr Empfehlungen für "einfache" Strandlektüre, die trotzdem einen guten Plot hat und gut geschrieben ist? Hier noch meine Lieblingsautoren, die vielleicht Hinweise auf meinen Geschmack geben. Haruki Murakami, Karl Ove Knausgard,Michel Houellebecq, Cixin Liu, Daniel Kehlmann, George RR Martin, Hermann Hesse, George Orwell Mein Bücherregal (goodreads) Ich freue mich auf eure Vorschläge :)
You can find latest info here. Named items will be added soon.
-------------------------------- OLD LIST -------------------------------- We need a list for the new named items. I couldn't find any post trying to set it up, so here you go. There are 23 (+1 unobtainable) weapons & 17 gear items currently. Please comment if you have a named item which is not listed or contains ???. Please provide all info if possible (see columns). I'll add them. Also if you find errors let me know.
Where to get named Items
Check out the Wiki. From my experience the drop rate in heroic stuff is pretty high. I get 1-2 named items for every single heroic mission. Also the clan vendor sells 1 named item and Cassie 3 named items. The Thieves Den also offers 1 named item. And if you're lucky you can get them from proficiency caches as well.
Weapons
O = offensive ; D = defensive ; U = utility Example: 5-O means 5 or less offensive attributes 7+U means 7 or more utility attributes
Name
Type
Perfect Talent
Effect (Requirements)
Source
Artist's Tool
SIG 716 CQB
Perfect Rifleman
Landing headshots adds a stack of bonus 12% weapon damage for 5 seconds. Max stack is 5. Additional headshots refresh the duration. (4-D)
LZ
Black Friday
M249
Perfect Unhinged
Recieve 25% weapon damage at the cost of 25% handling (none)
DZ
Commando
SVD
Perfectly Naked
When armor is depleted gain +50% weapon damage for 6s (Scope 8x or higher)
LZ+DZ
Cuélebre
Military M870
Perfect Jazz Hands
+20% Reload Speed (none)
LZ+DZ
Designated Hitter
SR-1
Perfect Reformation
Headshot kills increase skill repair & heal by 75% for 25s (9+U)
Swapping from this weapon within 10s of killing an enemy grants 40% CHC & 50% CHD for 15s (4-U)
DZ
Pinprick
Covert SRS
Perfect First Blood
First 2 shots out of combat or after reloading deal headshot damage to any body part (Scope 8x or higher)
DZ
Pyromaniac
Police M4
Perfectly Ignited
+40% damaged against burning enemies ; after 2nd kill next shot inflicts burn (none)
LZ
Rock'n'Roll
ACS12
Perfect Extra
+50% magazine size (none)
DZ
Safety Distance
MPX
Perfect Outsider
+150% accuracy & range for 10s after a kill (4-O)
LZ+DZ
Shield Splinterer
F-2000
Perfect Optimist
Weapon damage is increased by 5% for every 10% missing from the magazine (5-O)
Ivory Cache (Hunter)
Sleipner
MG5
Perfect Frenzy
For every 10 bullets in the magazin gain 4% fire rate & 4% weapon damage for 5s when reloading from empty (4-D)
Gunner Field Research
Swap Chain
MP7
Perfect Allegro
+15% fire rate (none)
LZ+DZ
Tabula Rasa
Military L86 LSW
Perfectly Steady Handed
Landing shots add 4% handling. Max stack 10. At max 10% chance to consume buff and refill magazine (5-O)
LZ
The Apartment
MPX
Perfectly Measured
Top half of magazine grants +20% fire rate & -10% damage. Bottom half +30% damage & -15% fire rate (none)
DZ
The Railsplitter
CTAR-21
Perfectly Measured
Top half of magazine grants +20% fire rate & -10% damage. Bottom half +30% damage & -15% fire rate (none)
DZ
The Send-Off
KSG Shotgun
Perfectly Rooted
All skill damage & healing is increased by 30% for 15s. Once per 60s. Buff lost when exiting cover. (none)
Technician Field Research
The Virginian
1886
Perfect Boomerang
Critical hits have a 75% chance to return a bullet to the magazine. Next shot deals 50% additional damage. Buff lasts 10s and is lost on reload, weapon swap & exiting combat (5+O)
DZ
Tsunami
Tactical SASG-12 k
Perfect Pummel
After 2 kills with bodyshots gain 50% weapon damage (4+O)
LZ
Gear
Name
Brand & Type
Perfect Talent
Effect (Requirements)
Other Talent
Mod Slots
Source
Claws Out
Wyvern Holster
Perfect Bloodlust
20% weapon damage on weapon swap for 5 sec (none)
no
1xO
DZ
Contractor's Glove
Petrov Gloves
Perfect Terminate
40% skill damage on enemy armor break (5+U)
no
none
LZ
Deathgrips
5.11 Gloves
Perfect Clutch
25% health and 2% armor on critical hit (4-D)
no
none
DZ
Emporers Guard
Murakami Kneepads
Perfectly Cloaked
Nearby enemy skills are disrupted for 15s when armor depleted. Once every 15s (5-U)
no
1xD
DZ
Ferocious Calm
Fenris Chest
Perfect Berserk
+10% damage for every 20% armor depleted (7+O, AR,SMG,Shotgun,LMG)
yes
1xO
DZ
Firm Handshake
Sokolov Gloves
Perfectly Wicked
+20% weapon damage for 20s when applying a status effect (4+O)
no
none
LZ+DZ
Forge
R&K Holster
Perfect Blacksmith
60% armor repair on sidearm kill (5+D)
no
1xO
LZ
Fox's Prayer
Overlord Kneepads
Perfectly Entrenched
Headshots from cover repair 15% armor (Rifle or MMR)
no
1xO
LZ
Motherly Love
Alps Gloves
Perfect Opportunistic
Enemies you hit take 15% more damage from all sources for 3s (MMR or Shotgun)
no
1xO
Technician Field Research
Nightwatcher
Gila Guard Mask
Perfect Spotter
+20% weapon damage to pulsed enemies (5+U)
no
1xY
LZ+DZ
Percussive Maintenance
Alps Backpack
Perfect Tech Support
Kills by skills & explosions grant 30% skill damage for 10s (6+U)
yes
2xU
LZ
Pristine Example
Arialdi Chest
Perfect Vigilance
+30% weapon damage when not hit for 4s (7+O)
no
1xO 1xD
LZ
Punch Drunk
D&H Mask
Perfect Concussion
Headshots grant 20% headshot damage for 2s. 5s with MMR (7+O)
no
none
LZ
Strategic Alignment
China Light Backpack
Perfect Spark
20% weapon damage after dealing skill/explosive damage (9+O)
yes
1xU
LZ+DZ
The Sacrifice
Providence Backpack
Perfectly On The Ropes
20% weapon damage when both skills on cooldown (7+U)
yes
1xO
DZ
The Hollow Man
Yaahl Mask
Perfectly Insulated
50% hazard protection (none)
no
none
DZ
Zero Fs
Badger Chest
Perfectly Unbreakable
100% armor when armor is depleted. Armor kits not consumed for 7s. Once every 60s. (11+D)
In honor of Akira Kurosawa's birthday, all of his films ranked
I got this list done with 30 minutes to spare, phew. I plan on turning this into a youtube video, let me know if you guys would be interested in watching something like this! Sorry if this is the wrong subreddit but I couldn't really think of where else to put it. movies seems to only be about news for upcoming movies. #30 - Sanshiro Sugata Part Two This sequel to Kurosawa’s very first film is by far his most uninspired film. It’s possibly the only one that I would say toes the line of actually being bad. Sugata 2 exists partly as a propaganda film which declares the physical and spiritual superiority of the Japanese near the tail end of WWII, partly as a watered down sequel to the original. I don’t have an inherent problem with the propaganda, but in the case of this movie it’s tiresome and thick. The Judo fights are hard to enjoy as well because they don’t carry the same weight that they did in the original. The final showdown in the vast snowy landscape is great, though. #29 - The Quiet Duel The Quiet Duel is so disappointing because the groundwork for it is so wonderful, and there are so many things to love about it. The opening sequence, the chemistry between Toshiro Mifune and Takashi Shimura, the shot compositions, even the story itself is. The Quiet Duel is meant to depict the internal struggle of the protagonist who has contracted Syphilis because he performed a surgery with an open wound on an infected patient during the war. Having never experienced the pleasure of a woman and being engaged to a woman he loves for six years, he continues to live a torturous life. He must reject his fiance, he must be celibate, and because of his shame he must keep it a secret. If it sounds like a slow burn, it is, and that would be a fine thing if the film leaned into it. Unfortunately the so-called Quiet Duel erupts into a melodramatic scene which is meant to culminate the cloaked struggle but actually undermines it with the only poor Mifune performance I’ve ever seen. The outburst spits in the face of the drama rather than uplifting it, making the film unfortunately ineffective. #28 - The Most Beautiful If Sugata part 2 is part propaganda film, The Most Beautiful is all propaganda. The film depicts a group of young girls, workers in a Japanese optics factory, and their unfaltering devotion to their work. They demand an increase in productivity because they feel the social obligation to help the Japanese cause in the war and they work tirelessly throughout sickness and grief, proudly singing along the way. The reason I like the film is that despite it being a propaganda film, it’s actually through this falsehood that we see a certain truth. The depicted national fervor, the tolls it would have on individuals, and their strength in the face of it all is one of many stories of Japan during the war. Their efforts are admirably brave and the futility underscores everything. #27 - Dersu Uzala Dersu Uzala is a nearly-romantic buddy film set and shot in the Russian wilderness. While this is among the most beautifully shot Kurosawa films, and while the titular main character is very charming, I find the messaging to be too boorishly told. I can understand and even get behind much of the messaging, that man loses something when we group up into societies and walk away from nature being the main one. But this messaging is told in an almost offensively simple way and it severely cripples what could have been one of Kurosawa’s greats into something rather superficial. #26 - The Idiot It’s fitting that this film, an adaptation of a Dostoevsky classic set in snowy Hokkaido, would be Kurosawa’s coldest film. It is long and hollow, with frigid, icy characters offset only by the protagonist - a relatively hearthlike character everybody else gathers around. This is one of the most difficult Kurosawa films to rate or place on this list. The original cut of the film doesn’t exist anymore and what’s left is somewhat difficult to get through and only contains echoes of the emotional power I think it intends. The base story itself, though and the performances (especially Setsuko Hara’s) are so good that it’s difficult to hate. The runtime may be daunting, but in the right context I suspect that only this film could be the right one to watch. I only wish the original cut was around. #25 - Sanshiro Sugata Sanshiro Sugata is Kurosawa’s first film and it is characteristically foundational. This film sets the framework for the man’s sensibilities and does so with grace. Sugata is a rich, humanist story about an exceptional individual who must choose between illusion and reality, life and death, heroism or villainy. Sugata’s camera movement and editing, implementation of nature as a visual reflection of the film's emotionality, and philosophical approach would stay with the filmmaker for decades and wouldn’t fully culminate until his final film. One might expect the first try of a young director to be amateurish but Sugata is a fully realized film with impactful messaging and a spectacle of a final scene. #24 - The Men Who Tread on the Tiger’s Tail At only 59 minutes, The Men Who Tread on the Tiger’s Tail is by far Kurosawa’s shortest film. It depicts an ancient story, fable-like in presentation, about a Lord and his retainer of samurai attempting to cross an enemy-controlled border. The story itself is innately interesting and it’s told wonderfully. A comedic character who acts sort of as an audience stand-in, the porter, provides the perfect counterbalance to the stateliness of the other characters - and he’s apparently not present in the original story. When the group finally arrives at the border, there is a tenseness which Kurosawa does not let go of until the film’s final moments. This incredibly long sequence is so well done, it’s nail-biting and clever and elusive. Kurosawa’s first attempt at the jidai geki, a genre he would become the master of, proves that his talent is brimming. #23 - Scandal What starts out as simple critical drama about yellow journalism takes a surprising turn into a deeply humanist portrait of a lowly man with good intention. Takashi Shimura’s role as Hiruta would not only be the precursor to Ikiru’s Watanabe but would prove to be the real protagonist in a film with Toshiro Mifune as the top billing. Coming immediately before Rashomon, Scandal would be largely overshadowed but it sits firmly within Kurosawa’s golden age. Scandal’s deceitful plot, sympathetic characters, and excellent courtroom scenes establish it as an effective critique of manufactured lies. #22 - Dreams Akira Kurosawa’s Dreams shows great concern for humanity in eight separate vignettes, all of which were inspired by real dreams of the director. It’s a visual marvel which falters at moments but ultimately makes up for it with its perfectly plodding pace, outstanding visuals and a few moments which breathe life into the film. The bookends of the film, the two processions are especially noteworthy, being some of my favorite scenes in Kurosawa’s body of work. Dreams is a journey through life, depicting triumph in death, the folly of man, war, nuclear destruction and peace. While it’s a rather meditative experience, it reeks with pessimism. When Dreams relies on its screenplay, it leaves a lot to be desired, but when it employs its visual storytelling, Kurosawa has perhaps never been more effective. #21 - Dodesukaden Dodes'ka-den is a stubbornly lyrical series of comedic, tragic, poignant vignettes about a group of poor outcasts who live in a trash heap. It has no main character, no strong individual, not even a plot. This was Kurosawa’s first attempt at color and he immediately imbues his color usage with a depth of meaning that is striking - especially given his proclivity to strong, childlike primary colors. The trolly boy walks a yellow brick road, usually a symbol of opulence and truth, which is now representative of illusion and the downtrodden, as just one example. A whimsical and childlike perspective on grim, inescapable realities, Dodesukaden is refreshing as a singular experience within Kurosawa’s filmography - even if it is very similar to The Lower Depths in nature. #20 - The Bad Sleep Well This is one of the hardest Kurosawa films to place on the list. The Bad Sleep Well is Kurosawa’s third attempt at film noir, a Hamlet-esque criticism of corruption in business, with wider implications involving the government. Of all of his Gendai-Geki films, only this one has a certain spectral quality to it. On top of being entertaining, intriguing and seedy, The Bad Sleep Well contains one of the director’s most masterful opening acts, with a plot which is endlessly engaging, and it’s absolutely riddled with sequences which will glue you to the screen. Its singular flaw is the ending, a sour note of melodrama, rather botched performances, and an inevitable conclusion the landing of which wasn’t quite stuck. This film could easily be placed up to 7 places higher on the list depending on the day. #19 - One Wonderful Sunday One Wonderful Sunday is an examination of an occupied, postwar Japan through the story of one day in one couple’s lives. Surrounded by rubble, orphaned children, corruption, exploitation, and thievery, Yuzo and Masako attempt to find romance and happiness on their weekly date - with only 35 yen to their names (hardly enough for coffee and biscuits for the two). The film is characterized by the opposing philosophies of the two main characters. Yuzo is hopeless, depressed, cynical and grounded. He sees the misfortune of his situation realistically. Masako is hopeful and joyous, she clings to dreams and fantasy no matter how unrealistic. Their wardrobes reflect these differences in personality with Yuzo’s cloudy grays and Masako’s clear whites. One Wonderful Sunday depicts desperation above all, and how two people find themselves and find each other. The finale, a slow build into a fascinatingly experimental fourth wall break which must be either overwhelmingly sentimental or cringe-inducingly flat if seen in a movie theater, reveals not only the futility of their circumstance, but that what they have might just be enough. A perfect reflection of each character, One Wonderful Sunday explores the couple to reveal a larger tragedy affecting so many others like them. #18 - The Lower Depths The Lower Depths is certainly one of Kurosawa’s masterpieces, its only crime being that its release window falls in between practically all of his most entertaining films. Containing an ensemble cast of comedians, this film is like a stage play - dark and tragic in tone. What results is fascinating, Kurosawa’s style is understated but ever present. Performances must feed off of each other in a way that’s unusual for Kurosawa. A lightness is brought into a claustrophobic and heavy story which does not alleviate the burden but amplifies it, like a black comedy. Opening with a long, 360 degree pan from the sunken Edo tenement, Kurosawa gives us a longing glimpse into a world which we’ll never return to. As soon as the pan is completed, some monks dump trash onto the tenement, and with the trash we follow until the film’s close. The Lower Depths is heady and it is not particularly accessible, but among his humanist portrayals of poverty, it may be by far his most dense and carefully constructed. Each performance is exhilarating and the characters are endlessly fascinating - all victims of themselves and their own circumstances. #17 - Drunken Angel At the core of Kurosawa’s post-war criticism of Western occupation is a muddy bog, a swamp around which all action takes place. During the time, Japanese art was heavily censored by Western forces and despite that, Kurosawa managed to slyly criticize his country’s occupiers in this pre-Rashomon masterpiece. In this world, the Yakuza, conspicuously wearing western three-piece suits, drinking whiskey, and hanging out in Jazz clubs seem to be a poison not unlike the bog at the center of the town. Toshiro Mifune, in his first ever Kurosawa film, is immediately captivating with an athleticism and presence which embodies the suave, sickly gangster. While Mifune’s Matsunaga is part of the Yakuza, he is not unlike the titular drunken angel played by Takashi Shimura. He is ultimately a good person who has made the wrong choices and this is his chance at redemption. Shimura, on the other hand, has no chance at redemption any longer. The result is a dynamic and paternal story in which the wise-but-soiled Shimura attempts to guide the ignorant but not lost Mifune. It’s a jaded and angry but driven film which is as brave as it is climactic. #16 - Throne of Blood Macbeth adapted to feudal Japan with elements of Noh theater - what more is there to say? Throne of Blood with wind, fire, mist, and trees weaves the delirious, fateful downfall of an ambitious and greedy man into the jidaigeki. The end result is simultaneously the most offroad viewing of Macbeth one could have, while also being perhaps that most faithful adaptation in spirit. The simplicity of this film is underscored by the Shakespearean depth at play in the script. The special effects are hypnotizing (if you could call them special effects, real arrows were shot at Mifune during filming) and they pull you into the dark, duplicitous world of power. #15 - Rhapsody in August Honestly, I just really love this movie. Rhapsody in August is at times awkward, and overly simplistic in its portrayal of war-related atrocities, with lines that are spoken but not felt. But in spite of its many flaws, this film has a particular draw to it that only some of Hayao Miyazaki’s most pensive films have wielded for me. For however much Rhapsody’s problems pull me out, its Summer atmosphere, setting, pacing, reflections and characters pull me back in tenfold. This film is warm and relaxing and even thought-provoking despite the simplicity with which some of the subject matter is handled. On top of that, the editing is so understated and so masterful, shining particularly brightly in two scenes which define the film for me. The first, a hypnotic observation of ants crawling up the stem of a saturated rose and the second being the film’s climax, perhaps the most moving and musical ending to any of Kurosawa’s films. #14 - Sanjuro The companion piece to Kurosawa’s groundbreaking 1961 film Yojimbo is a quasi-sequel starring the same protagonist in a completely different circumstance. It’s quite difficult to talk about Sanjuro without comparing it to Yojimbo, but this film does stand on its own merits. Sanjuro is compared to an unsheathed sword, rough and dangerous - but as is pointed out by the hilariously poised wife of the chamberlain it is much better to be a sheathed sword. This is a great signifier of what makes Sanjuro its own film. Its core is much more philosophical and the villain is a mirror of Sanjuro. If the violence in Yojimbo is celebrated due to the cartoonish evil wreaking havoc in the town, the violence here, while equally cinematic and stylized, is more akin to medicine. Necessary, but difficult to take. It’s unclear at the end of Sanjuro’s tense, explosive finale if he manages to escape his own cycle, but I’m optimistic that his messaging eventually gets through to the samurai who so much admire him. #13 - I Live in Fear Washed-out whites on urban landscapes open this lesser-known Kurosawa film, indicating a scorching, near-blinding heat which is as symbolic as it is literal. Fans, always in frame, attempt with futility to give reprieve to the characters of I Live in Fear. None fans himself more than Mifune’s Nakajima, an old man who is acutely fearful of the threat of the atomic bomb. I Live in Fear, wielding a potent empathy, is a tragic yet hopeful examination of The Bomb, the Japanese family, and generational differences. It also happens to be one of the best examples of Kurosawa’s masterful usage of weather. Roughly halfway through the film, incessant scorching sun is replaced by heavy rainfall. In most films this might represent a relief but here, within the context of potential nuclear fallout, it represents the opposite. The sun acts, symbolically, as a sort of pressure. A reminder. While the rain, potentially radioactive and even more inescapable, is the final realization of this symbol. I Live in Fear, for how little it seems to be discussed, is certainly one of the most underrated films in Kurosawa’s entire canon. The screenplay, direction, and outstanding performances solidify it as an equal among the rest of Kurosawa’s golden age films. #12 - Stray Dog Panting in the sun, a literal stray dog is the subject of a close-up, the opening shot of Akira Kurosawa's 9th film. Arriving one year earlier than Rashomon and kicking off the golden age of Kurosawa, Stray Dog begins with a rhythmic fast-pace and an immediately grabbing premise. Summer heat pours over every frame, baking desperation onto each character. A veteran of the war, working as a homicide detective, loses his gun to a pickpocket. His colt finds its way to another veteran, this one wallowing in his circumstance, a victim of the war in his own right. Kurosawa is impatient to draw the parallel between the two vets, Murakami and Yusa. By drawing this parallel and scrutinizing both characters, an inevitable division is drawn. In this way, Stray Dog is like High and Low, it follows 2 foiled characters, subject to poor circumstance, and divides them and explores them. Similarities between the films mount, and I believe Stray Dog to be a predecessor to High and Low - if a more accessible version. Shimura and Mifune as a nearly buddy-cop duo add levity to what’s otherwise an oppressive noir. #11 - Madadayo Kurosawa’s final film is the true conclusion to his first film and to his story. After clinging for so long, finally we are given release. While not directly autobiographical, Madadayo tells Kurosawa's story and it vividly depicts his resting place. He is alone, yet surrounded by adoring people. He is a dreamer and a story-teller. He is deeply passionate about that which he holds dear and feels a connection to nature. All of this is known, even without the viewing of Madadayo, but Kurosawa's summation, a poetic and thoughtful one adds a hint of color to an otherwise dull observation. It makes personal the objective and it redefines our perspective on his life and his life's work with artistic ambition. No longer does Kurosawa feel the need to depict the hero's journey, no longer must he play with tragedy. Now he embraces humor and comedy, now he celebrates a life well-lived. His work has paid off in that it was good work and that he did his best. He said what he could, now he must dream. Madadayo is a celebration of life and it is an acceptance of death and it's funny all the way through. As the nightcap to Kurosawa's career, the late-night final drink, Madadayo puts one to sleep soundly, with twilight dreams of childhood - just like its own final scene. #10 - Kagemusha Kagemusha is far and away Kurosawa’s most visually stunning work in my opinion. I don’t know that there is a single shot that isn’t absolutely beautifully composed. Some films are pretty but you get dull to it eventually, Kagemusha is 3 hours long and even until its bitter, desperate end I was floored by the visuals. The story goes that Kurosawa had been painting the shots of this film for years prior to its production because of difficulty he had getting it financed. The result is a painterly masterpiece which is not just beautiful, it’s an epic historical fiction featuring a sly and cunning leader who uses a body double to intimidate and control his enemies even from beyond his grave. The foxlike plot is more fable than situational and manages to be immediately interesting, acting as a hook which will not let go until the credits roll. The opening shot, a 6-minute long static take, simultaneously sets the stage for the plot while establishing a stillness which will be immediately broken after the title card. This pattern of inaction to action and back again provides Kagemusha with a rhythmic quality that’s very reminiscent of golden era Kurosawa. #09 - Red Beard Red Beard is perhaps the best example of just how far Kurosawa would go to get something right. Filming took two years. The set was an entire town complete with side alleys constructed of aged wood and centuries-old tiles, only for the set barely be shown on-screen and to be destroyed. This role inhibited Toshiro Mifune so much (as filming took so long and Kurosawa required him to keep a real beard for the character) that it caused their relationship to crumble. This was Mifune’s final collaboration with Kurosawa after 17 years and 16 films. This was also Kurosawa’s final black and white film. Fittingly, Red Beard is the pinnacle of so much of what Kurosawa sought to achieve throughout his career. While it is not my favorite Kurosawa film, the argument that it is his magnum opus is probably the closest to the truth. Red beard carefully deconstructs suffering and disease and shows why, in the face of it, there is hope. Goodness is contagious and we all have a choice. That is possibly the most simplistic way to put it. In truth Red Beard is much more than that - it is a master class in sound design and composition, with natural and believable character growth which feels rewarding. It is a humanist and existentialist masterpiece that rivals the 19th century Russian novels Kurosawa so much admired. It may be a slow burn, but if given its proper time, Red Beard proves its worth as one of Kurosawa’s most lasting films. #08 - The Hidden Fortress The legacy of this film can’t really be understated - it’s known now as a primary influence on Star Wars but I find that by defining the film in that way, we sort of erase the film as merely a stepping stone to a bigger cultural franchise. The Hidden Fortress is no stepping stone, it is a rollicking adventure starring a particularly intrepid Mifune and some of Kurosawa’s most darling frequent collaborators, Minoru Chiaki and Kamatari Fujiwara in possibly their best work. The Hidden Fortress is by far Kurosawa’s most accessible film in my opinion - its cinematic widescreen presenting the squashed, desertous landscape as the grand stage to a whimsical journey. The lowly peasants keep us attached to the story, laughing along while Mifune dazzles us with fairy tale theatrics. If Seven Samurai is a subversion of the jidai geki, The Hidden Fortress is the culmination of the genre with dazzling action and jaw dropping setpieces. At one time the simplicity of this film attracted criticism - that very simplicity is one of irs greatest strengths. #07 - Rashomon Rashomon established Kurosawa as a global auteur and is considered to this day to be one of the greatest movies ever made. That it’s this low on the list should only suggest how good Kurosawa really was. Rashomon’s meditation on the nature of truth manages to be uncompromisingly elusive yet gratifying. The ambiguity of the film - represented by shots of the sun poking through the thick forest, the light never fully attainable - isn’t just a tool, it’s the spine. Rashomon is multi-faceted in that it is on its own entertaining with beautiful imagery and branded performances, but more than that, it is an endless study and a provoking rumination. No answer having been arrived at, it leaves a space for one to fill themselves. Many films leave the audience with something, very few take something away. Any sense of having known the truth dissipates. #06 - Yojimbo Yojimbo’s lone, nameless hero recalls endless Western heroes in spirit alone. As a masterless Samurai, Yojimbo’s hero carries only a sword rather than a revolver. This seemingly small change adapts an entire genre into another one, instantly raising the stakes and increasing the tension. Sanjuro, perhaps Mifune’s most tailored role, graces the screen with the bravado of any of the greatest heroes in film. Mifune’s timeless swagger and decisive movements imbue Yojimbo with a lasting legacy rivalled only by every other aspect of the film. The shot compositions will be burned in your brain while the music, thematic and triumphant, ushers in the appropriate atmosphere. Even the plot itself is timeless - the lone selfish hero helping the town via his own greed by playing both sides of a war, loyal to no one. If The Hidden Fortress isn’t Kurosawa’s most accessible film then it surely is Yojimbo. And While Yojimbo lacks the depth of Rashomon, it’s not without nutrition. Yojimbo offers a healthy dose of subtextual meaning, placing it somewhere in between Seven Samurai and The Hidden Fortress, perhaps a perfect middle ground. #05 - No Regrets For Our Youth This is surely the most controversial pick in my top 10. While No Regrets For Our Youth is by no means considered one of Kurosawa’s worst films, it’s far from being considered one of his best. If anything it’s glossed over in favor of everything after One Wonderful Sunday. It’s true that as a filmmaker, Kurosawa still had much to learn and many of his later films would be stronger in this way or that, but I can’t help but see this as his first masterpiece. No Regrets For Our Youth begins with an idyllic sequence with Yukie (Kurosawa’s only female protagonist, played movingly by Ozu regular Setsuoka Hara) at the center. The peace is broken abruptly with gun fire and the immediate change in tone shocks the viewer into the realization that this isn’t reality. Yukie’s life may be idyllic, as the upper middle class daughter to a Kyoto University professor - with no political investment and a focus on the beauty surrounding her - but it’s only her perception. The film is a deeply political one which criticizes to some extent Japan’s Manchurian invasion and to a great extent the fascist-leaning censorship that Japan engaged in at the time. While Yukie can ignore what’s happening, her peers and father cannot. Over the roughly 13 year timespan of the film, through nothing but a toiling determination we see Yukie’s self-actualization. This is why the film transcends its perception in my opinion, Yukie’s growth as a character is nothing short of affirming. The way that it’s built up is expertly handled, one would be forgiven to think the film is a romance for most of its runtime, only to find out that it’s a detailed portrait of a person’s journey to self-discovery, and what she finds is something all of us are capable of finding. This film doesn’t have the same cerebral zest of Rashomon or the existential weight of his dramas or the excitement of his jidai gekis. It’s very simple, but at least for me, it’s among his most potently affecting films. #04 - Ikiru Takashi Shimura has appeared in more Kurosawa films than Toshiro Mifune, but Mifune is more synonymous with the director. I think that’s because Shimura is often a supporting actor where Mifune is the lead. In Ikiru, however, Takashi Shimura takes his leading role and immortalizes it. Ikiru is the story of Watanabe, a tenured bureaucrat who hasn’t lived a day in his life. He learns that he has stomach cancer and only has months to live. His search for life, melancholy though it may be, is the most emotionally impactful story Kurosawa has told. It is told in a deeply empathetic manner inside the context of a cold, forgetful world. What makes this film warm is that Watanabe finds his life and that context becomes irrelevant in the face of someone who is truly alive. Takashi Shimura’s performance has the permanence of ink. His presence in a film has always been singular, but in this film, Shimura’s line readings, body language, and facial expressions are seering. Coupled with Kurosawa’s especially motivated direction, Shimura’s performance helps to establish Ikiru as not only one of Japan’s greatest films but one of *the* greatest films. I would hesitate to call this the Japanese Citizen Kane if I didn’t so firmly believe it. #03 - Ran Ran is theater, a pastiche of noh, cinema, and the stage. It’s a nearly autobiographical epic which observes humanity from the heavens - transforming its audience into gods. As the observers, it is we who choose to laugh or cry for the characters on stage, but we are helpless to intervene. This device, Shakespearean in nature, further cements the tragedy realized only by the lowly jester. Ran is a historical epic, an adaptation of King Lear, and probably Akira Kurosawa’s most perfect film. To praise this film enough would be to exhaust weeks. The story is timeless, made personal only by the suggestion that Kurosawa sees himself within it. The set pieces, compositions, cinematography, performances, costuming, all of it perfectly in place like a fine watch. Ran has something for everybody. It’s literary, cinematic, thrilling, thought-provoking, beautiful and bold. If there is any doubt that Kurosawa is among the greatest directors of all time, Ran should quickly alleviate that doubt. #02 - Seven Samurai Akira Kurosawa's Homeric epic spares nothing and leaves its viewer drained of everything save a despondent optimism. It's a Russian doll of a story; within the confines of its simple, enduring plot lies its own smaller story and a smaller one within that. Tortoises all the way down, each one as substantial as the last, in concert with each other. Despite its mammoth screen time, one might expect a film with this much breadth to feel cramped. No, Seven Samurai breathes. Each beat, patiently arrived at and resolved, this film moves like the elements so starkly captured on screen. It can glide like a calm wind or crash like a torrent, crackle and roar like a darkly framed fire or surf in stillness like dust. Seven Samurai does not rush or plod, it dances, matching every beat. A year takes place throughout the film, and it feels just like one, equal parts long and fleeting. And for all its technical majesty which brings poetry to each step, the human element prevails above it all. Don’t let its rich black and white photography fool you, Seven Samurai is kaleidoscopic. #01 - High and Low High and Low is a celestial freefall into the depths of depravity. It’s a flawless noir and a boiling drama. Once you get down to the last ten or so Kurosawa films it becomes hard to compare them, but something about High and Low is to my own sensibilities perfect. From its opening shot to its harrowing finale, High and Low is boundlessly impressive. It’s a master class in blocking, cinematography, performances, editing, lighting and all of this says nothing of the film’s atmosphere, moral interrogation, thrill or depth. High and Low consists of four distinct acts, each corresponding to how far on our descent we are, all of which are nearly different films in terms of what they provide the viewer, yet they come together to form a whole. High and Low is a mirror-filled, voyeuristic journey through Hell and when we’re finally pulled out it is sobering, arresting, and foggy. Somehow, clarity is more elusive here than in Rashomon. And this story of a shoe salesman being held for ransom has more excitement than one of seven lone samurai fighting off an army. High and Low manages to be the quintessential Kurosawa film while insisting on its own identity. Kurosawa films, like all films, tend to have a grit, certain sticking points or hooks that take away even if only in the most minor and inconsequential ways. High and Low has none of that. There are no bits of dialogue or moments of acting or editing decisions or camera movements which obstruct the view. As if looking through Kingo Gondo’s windows we have untethered access to this world which feels more lived in than any of Kurosawa’s other worlds and we are pulled in. Like a roller coaster, the ride isn’t smooth so much as it is varied. A slow, suspenseful climb, a gut-rolling freefall, a sharp turn, a disorienting spin, and an empty relief to be back on one’s feet once it’s over. High and Low lacks only in sentimentality, which is perhaps Kurosawa’s biggest crutch as a filmmaker anyway. Without it, he proves himself to be the giant which his reputation suggests.
Im Moment lese ich zwei Autoren, beide in Übersetzung. Murakami und Olga Tokarczuk. Das Übersetzen fasziniert mich und ich habe mich sogar für einen 5-wöchigen Übersetzungskurs für diesen Sommer angemeldet. ~ „Unrast“ – treffender könnte der Titel gar nicht sein. Die Autorin liebt es zu reisen und in diesem Buch schreibt sie kurze, ganz kurze und längere Geschichten über ihre Reiseerlebnisse. Quasi ein geschriebenes Notizbuch. Für diesen Roman verwendet sie eine Strategie, die sie "Konstellation" nennt, was unter anderem bedeutet, dass sie viele verschiedene Ideen und Geschichten und Stimmen über die Linien, die der Leser zwischen ihnen zieht, in Beziehung zueinander bringt. Ich liebe es, ihre Bücher zu lesen, weil sie mit chirurgischer Präzision die Psychologien ihrer Figuren behandelt, weil sie eine nuancierte und lyrische Prosa schreibt und weil sie es schafft, kristallklar und tiefgründig zu sein, ohne jemals plump zu sein. Ihr Buch war so reizvoll, weil ich das Gefühl hatte, dass ich jedes Mal, wenn ich mich mit dem Buch hinsetzte, ein neues Thema aufgriff. In der einen Minute habe ich über die Frau gelesen, die von Neuseeland zurück nach Polen fliegt, um einen sterbenden Kindheitsfreund zu töten; in der nächsten habe ich mich über die Tücken des Internets amüsiert; in der nächsten habe ich meine eigene Einstellung zum Reisen oder zu meinem Körper überdacht. Ich könnte immer so weitermachen. Ich liebe es, sie zu lesen. Hier ist mein bisheriger Lieblingsabsatz aus dem Buch: "Es gibt Länder da draußen, in denen die Leute Englisch sprechen. Aber nicht so wie wir - wir haben unsere eigenen Sprachen in unserem Handgepäck, in unseren Kosmetiktaschen versteckt, benutzen Englisch immer nur, wenn wir reisen, und dann auch nur in fremden Ländern, zu fremden Leuten. Es ist schwer vorstellbar, aber Englisch ist eine echte Sprache!" ~ Ich lese auch gerade Murakami und habe mit einigen meiner japanischen Freunde darüber gesprochen. Und auch mit einigen meiner Freunde, die gerade Japanisch lernen. Sie konnten natürlich nur Kommentare zu Übersetzungen zwischen Japanisch und Englisch abgeben. Einer meiner Freunde hat Harry Potter auf Japanisch gelesen und es gibt einige Sätze, die ziemlich ähnlich sind und einen ähnlichen Tonfall wie die englische Kraft haben. Allerdings gibt es auch andere Sätze, bei denen sie viel mehr Arbeit haben, um sie zu verstehen. Sätze haben einige immense Unterschiede, da einige Ideen einfach nicht so oft oder auf die gleiche Art und Weise ausgedrückt werden. Ein Beispiel, das von einem Freund von mir erwähnt wurde, war, wie wir "müssen" sagen, um zu betonen, was wir tun werden oder wozu wir uns gezwungen fühlen. Aber die Japaner neigen dazu, es viel wörtlicher zu verwenden, wenn es unbedingt notwendig ist, dass etwas passiert. Außerdem gibt es im Japanischen eine Menge sich wiederholender Dinge, die sich nicht übersetzen lassen. Es gibt einige spezielle Verben und Kombinationsmöglichkeiten von Verben im Japanischen, die einfach schwer zu übersetzen sind, sich aber in der Sprache richtig anfühlen. Zum Beispiel: Bei dem Verb, den Kopf hängenzulassen, muss man das Wort "Kopf" überhaupt nicht erwähnen. Es gibt auch tonnenweise Lautwörter, die in Verbindung mit einem Verb verwendet werden, das dort oft die implizierte Bedeutung wiederholt. Außerdem gibt es viele Redewendungen, die sich nicht gut übersetzen lassen. Sie haben eine ganze Reihe von Redewendungen, die sich auf den "Geist" beziehen, für die es direkte Übersetzungen gibt, die in der Regel passen (die Idee kann als Eindruck, Gefühl, Selbst und andere übersetzt werden, je nach Konstruktion). Es ist eine interessante Sprache :)
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