Mishima, Shizuoka
Mishima is a city located in eastern Shizuoka Prefecture, Japan. The city, which covers an area of 62.02 square kilometres, had an estimated population in March 2018 of 109,187, giving a population density of 1,761 persons per km2. Mishima is located in far eastern Shizuoka Prefecture, at the northern end of Izu Peninsula and in the foothills of Mount Fuji. Shizuoka Prefecture Numazu Susono Kannami Shimizu Nagaizumi Kanagawa Prefecture Hakone Mishima has a humid continental climate with hot summers and cool winters. Precipitation is heaviest from June to September. Mishima is an ancient town. Under the Ritsuryō administration system established in the Nara period, Mishima was made capital of Izu Province, it was the location of the Kokubun-ji for Izu Province. In the Edo period, Mishima prospered from its location on the Tōkaidō highway connecting Edo with Kyoto, Mishima-shuku was one of the 53 post stations on that road; the area was tenryō territory ruled by a daikan appointed directly by the Tokugawa shogunate.
After the Meiji Restoration, Mishima became part of the short-lived Nirayama Prefecture in 1868. This merged with the short-lived Ashigara Prefecture in 1871, became part of Shizuoka Prefecture from April 18, 1876. During the cadastral reform of 1889, the area was reorganized as Mishimi Town within Kimisawa District. In 1892, Prince Komatsu Akihito established a villa in Mishima, its gardens, the Rakujūen, are a noted visitor attraction in Mishima to this day. In 1896, Kimisawa District became part of Shizuoka. Mishima received its first train connection in 1898 when the predecessor of the Izuhakone Railway established what is now Shimo-Togari Station; the Sunzu Line began operations from 1906. However, Mishima's fortunes revived only after the Tanna Tunnel was completed in 1934, connecting the town to the Tōkaidō Main Line railway between Tokyo and Shizuoka. Mishima developed afterwards, merging with neighboring Kitakami Village in 1935 and Watada Village in 1941. Mishima Town was elevated in status to a city on April 29, 1941.
It became a stop on the Tōkaidō Shinkansen from 1969, leading to an expansion in population, as the line made it possible to commute to Tokyo. Mishima is a major industrial center within Shizuoka Prefecture. In addition to a railroad repair facility operated by JR Central, the city hosts factories from: Toray DMW Corporation Toshiba TEC Corporation Yokohama Rubber Company CFS Corporation Izuhakone Railway Company Ltd Mishima has 14 elementary schools, eight middle schools, five high schools. In addition, Juntendo University and the Graduate University for Advanced Studies each have a facility at Mishima. Pasadena, United States, since July 24, 1957 New Plymouth, New Zealand, since April 29, 1991 Lishui, Zhejiang Province, since May 12, 1997 JR Central – Tōkaidō Shinkansen Mishima JR Central – Tōkaidō Main Line Mishima Station Izuhakone Railway – Sunzu Line Mishima – Mishima-Hirokōji – Mishima-Tamachi – Mishima-Futsukamachi – Daiba Izu-Jūkan Expressway National Route 1 National Route 136 The College of International Relations for Nihon University is located in Mishima.
Mishima is home to the National Institute of Genetics. Novelist Kimitake Hiraoka adopted his pen name Yukio Mishima after the city; the Mishima Summer Festival takes place from August 15 to 17 every year, in and around the Mishima Taisha shrine, as well as near Mishima Station. Mikoshi are carried through the streets and the taiko are played. Mishima is home to the Ryūtaku-ji Rinzai Zen temple. Vangi Sculpture Garden Museum, Izu Photo Museum and Yukio Literary Museum are all located close together outside Mishima City. Makoto Ōoka – poet and literary critic Yukiko Sakamoto – politician Nobuyoshi Sano – composer and musician Naohiro Takahara – professional soccer player Yoshiaki Koizumi – video-game designer and producer Media related to Mishima, Shizuoka at Wikimedia Commons Official website Geographic data related to Mishima, Shizuoka at OpenStreetMap
Film director
A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay while guiding the technical crew and actors in the fulfilment of that vision; the director has a key role in choosing the cast members, production design, the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film; the film director gives direction to the cast and crew and creates an overall vision through which a film becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a film director; some film directors started as screenwriters, producers, film editors or actors. Other film directors have attended a film school. Directors use different approaches; some outline a general plotline and let the actors improvise dialogue, while others control every aspect, demand that the actors and crew follow instructions precisely.
Some directors write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors appear in their films, or compose the music score for their films. A film director's task is to envisage a way to translate a screenplay into a formed film, to realize this vision. To do this, they oversee the technical elements of film production; this entails organizing the film crew in such a way to achieve their vision of the film. This requires skills of group leadership, as well as the ability to maintain a singular focus in the stressful, fast-paced environment of a film set. Moreover, it is necessary to have an artistic eye to frame shots and to give precise feedback to cast and crew, excellent communication skills are a must. Since the film director depends on the successful cooperation of many different creative individuals with strongly contradicting artistic ideals and visions, he or she needs to possess conflict resolution skills in order to mediate whenever necessary.
Thus the director ensures that all individuals involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as "a multi-dimensional jigsaw puzzle with egos and weather thrown in for good measure", it adds to the pressure that the success of a film can influence when and how they will work again, if at all. The sole superiors of the director are the producer and the studio, financing the film, although sometimes the director can be a producer of the same film; the role of a director differs from producers in that producers manage the logistics and business operations of the production, whereas the director is tasked with making creative decisions. The director must work within the restrictions of the film's budget and the demands of the producer and studio. Directors play an important role in post-production. While the film is still in production, the director sends "dailies" to the film editor and explains his or her overall vision for the film, allowing the editor to assemble an editor's cut.
In post-production, the director works with the editor to edit the material into the director's cut. Well-established directors have the "final cut privilege", meaning that they have the final say on which edit of the film is released. For other directors, the studio can order further edits without the director's permission; the director is one of the few positions that requires intimate involvement during every stage of film production. Thus, the position of film director is considered to be a stressful and demanding one, it has been said that "20-hour days are not unusual". Some directors take on additional roles, such as producing, writing or editing. Under European Union law, the film director is considered the "author" or one of the authors of a film as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a film director's film reflects the director's personal creative vision, as if they were the primary "auteur". In spite of—and sometimes because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
Some film directors started as screenwriters, film producers or actors. Several American cinematographers have become directors, including Barry Sonnenfeld the Coen brothers' DP. Other film directors have attended a film school to get a bachelors degree studying cinema. Film students study the basic skills used in making a film; this includes, for example, shot lists and storyboards, protocols of dealing with professional actors, reading scripts. Some film schools are equipped with post-production facilities. Besides basic technical and logistical skills, students receive education on the nature of professional relationships that occur during film production. A full degree course can be designed for up to five years of studying. Future directors complete short films during their enrollment; the National Film School of Denmark has the student's final projects presented on national TV. Some film schools retain the rights for their students' works. Many directors prepared for making feature films by working in television.
The German Film and Television Academy Berlin cooperate
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Sound film
A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of projected sound films took place in Paris in 1900, but decades passed before sound motion pictures were made commercially practical. Reliable synchronization was difficult to achieve with the early sound-on-disc systems, amplification and recording quality were inadequate. Innovations in sound-on-film led to the first commercial screening of short motion pictures using the technology, which took place in 1923; the primary steps in the commercialization of sound cinema were taken in the mid- to late 1920s. At first, the sound films which included synchronized dialogue, known as "talking pictures", or "talkies", were shorts; the earliest feature-length movies with recorded sound included effects. The first feature film presented as a talkie was The Jazz Singer, released in October 1927. A major hit, it was made with Vitaphone, at the time the leading brand of sound-on-disc technology.
Sound-on-film, would soon become the standard for talking pictures. By the early 1930s, the talkies were a global phenomenon. In the United States, they helped secure Hollywood's position as one of the world's most powerful cultural/commercial centers of influence. In Europe, the new development was treated with suspicion by many filmmakers and critics, who worried that a focus on dialogue would subvert the unique aesthetic virtues of soundless cinema. In Japan, where the popular film tradition integrated silent movie and live vocal performance, talking pictures were slow to take root. Conversely, in India, sound was the transformative element that led to the rapid expansion of the nation's film industry; the idea of combining motion pictures with recorded sound is nearly as old as the concept of cinema itself. On February 27, 1888, a couple of days after photographic pioneer Eadweard Muybridge gave a lecture not far from the laboratory of Thomas Edison, the two inventors met. Muybridge claimed that on this occasion, six years before the first commercial motion picture exhibition, he proposed a scheme for sound cinema that would combine his image-casting zoopraxiscope with Edison's recorded-sound technology.
No agreement was reached, but within a year Edison commissioned the development of the Kinetoscope a "peep-show" system, as a visual complement to his cylinder phonograph. The two devices were brought together as the Kinetophone in 1895, but individual, cabinet viewing of motion pictures was soon to be outmoded by successes in film projection. In 1899, a projected sound-film system known as Cinemacrophonograph or Phonorama, based on the work of Swiss-born inventor François Dussaud, was exhibited in Paris. An improved cylinder-based system, Phono-Cinéma-Théâtre, was developed by Clément-Maurice Gratioulet and Henri Lioret of France, allowing short films of theater and ballet excerpts to be presented at the Paris Exposition in 1900; these appear to be the first publicly exhibited films with projection of both image and recorded sound. Phonorama and yet another sound-film system—Théâtroscope—were presented at the Exposition. Three major problems persisted, leading to motion pictures and sound recording taking separate paths for a generation.
The primary issue was synchronization: pictures and sound were recorded and played back by separate devices, which were difficult to start and maintain in tandem. Sufficient playback volume was hard to achieve. While motion picture projectors soon allowed film to be shown to large theater audiences, audio technology before the development of electric amplification could not project satisfactorily to fill large spaces. There was the challenge of recording fidelity; the primitive systems of the era produced sound of low quality unless the performers were stationed directly in front of the cumbersome recording devices, imposing severe limits on the sort of films that could be created with live-recorded sound. Cinematic innovators attempted to cope with the fundamental synchronization problem in a variety of ways. An increasing number of motion picture systems relied on gramophone records—known as sound-on-disc technology. In 1902, Léon Gaumont demonstrated his sound-on-disc Chronophone, involving an electrical connection he had patented, to the French Photographic Society.
Four years Gaumont introduced the Elgéphone, a compressed-air amplification system based on the Auxetophone, developed by British inventors Horace Short and Charles Parsons. Despite high expectations, Gaumont's sound innovations had only limited commercial success—though improvements, they still did not satisfactorily address the three basic issues with sound film and were expensive as well. For some years, American inventor E. E. Norton's Cameraphone was the primary competitor to the Gaumont system. In 1913, Edison introduced a new cylinder-based synch-sound apparatus known, just like his 1895 system, as the Kinetophone; the phonograph was connected by an intricate arrangement of pulleys to the film projector, allowing—under ideal conditions—for synchronization. However, conditions were ra
Tokyo
Tokyo Tokyo Metropolis, one of the 47 prefectures of Japan, has served as the Japanese capital since 1869. As of 2018, the Greater Tokyo Area ranked as the most populous metropolitan area in the world; the urban area houses the seat of the Emperor of Japan, of the Japanese government and of the National Diet. Tokyo forms part of the Kantō region on the southeastern side of Japan's main island and includes the Izu Islands and Ogasawara Islands. Tokyo was named Edo when Shōgun Tokugawa Ieyasu made the city his headquarters in 1603, it became the capital after Emperor Meiji moved his seat to the city from Kyoto in 1868. Tokyo Metropolis formed in 1943 from the merger of the former Tokyo Prefecture and the city of Tokyo. Tokyo is referred to as a city but is known and governed as a "metropolitan prefecture", which differs from and combines elements of a city and a prefecture, a characteristic unique to Tokyo; the 23 Special Wards of Tokyo were Tokyo City. On July 1, 1943, it merged with Tokyo Prefecture and became Tokyo Metropolis with an additional 26 municipalities in the western part of the prefecture, the Izu islands and Ogasawara islands south of Tokyo.
The population of the special wards is over 9 million people, with the total population of Tokyo Metropolis exceeding 13.8 million. The prefecture is part of the world's most populous metropolitan area called the Greater Tokyo Area with over 38 million people and the world's largest urban agglomeration economy; as of 2011, Tokyo hosted 51 of the Fortune Global 500 companies, the highest number of any city in the world at that time. Tokyo ranked third in the International Financial Centres Development Index; the city is home to various television networks such as Fuji TV, Tokyo MX, TV Tokyo, TV Asahi, Nippon Television, NHK and the Tokyo Broadcasting System. Tokyo third in the Global Cities Index; the GaWC's 2018 inventory classified Tokyo as an alpha+ world city – and as of 2014 TripAdvisor's World City Survey ranked Tokyo first in its "Best overall experience" category. As of 2018 Tokyo ranked as the 2nd-most expensive city for expatriates, according to the Mercer consulting firm, and the world's 11th-most expensive city according to the Economist Intelligence Unit's cost-of-living survey.
In 2015, Tokyo was named the Most Liveable City in the world by the magazine Monocle. The Michelin Guide has awarded Tokyo by far the most Michelin stars of any city in the world. Tokyo was ranked first out of all sixty cities in the 2017 Safe Cities Index; the QS Best Student Cities ranked Tokyo as the 3rd-best city in the world to be a university student in 2016 and 2nd in 2018. Tokyo hosted the 1964 Summer Olympics, the 1979 G-7 summit, the 1986 G-7 summit, the 1993 G-7 summit, will host the 2019 Rugby World Cup, the 2020 Summer Olympics and the 2020 Summer Paralympics. Tokyo was known as Edo, which means "estuary", its name was changed to Tokyo when it became the imperial capital with the arrival of Emperor Meiji in 1868, in line with the East Asian tradition of including the word capital in the name of the capital city. During the early Meiji period, the city was called "Tōkei", an alternative pronunciation for the same characters representing "Tokyo", making it a kanji homograph; some surviving official English documents use the spelling "Tokei".
The name Tokyo was first suggested in 1813 in the book Kondō Hisaku, written by Satō Nobuhiro. When Ōkubo Toshimichi proposed the renaming to the government during the Meiji Restoration, according to Oda Kanshi, he got the idea from that book. Tokyo was a small fishing village named Edo, in what was part of the old Musashi Province. Edo was first fortified in the late twelfth century. In 1457, Ōta Dōkan built Edo Castle. In 1590, Tokugawa Ieyasu was transferred from Mikawa Province to Kantō region; when he became shōgun in 1603, Edo became the center of his ruling. During the subsequent Edo period, Edo grew into one of the largest cities in the world with a population topping one million by the 18th century, but Edo was Tokugawa's home and was not capital of Japan. The Emperor himself lived in Kyoto from 794 to 1868 as capital of Japan. During the Edo era, the city enjoyed a prolonged period of peace known as the Pax Tokugawa, in the presence of such peace, Edo adopted a stringent policy of seclusion, which helped to perpetuate the lack of any serious military threat to the city.
The absence of war-inflicted devastation allowed Edo to devote the majority of its resources to rebuilding in the wake of the consistent fires and other devastating natural disasters that plagued the city. However, this prolonged period of seclusion came to an end with the arrival of American Commodore Matthew C. Perry in 1853. Commodore Perry forced the opening of the ports of Shimoda and Hakodate, leading to an increase in the demand for new foreign goods and subsequently a severe rise in inflation. Social unrest mounted in the wake of these higher prices and culminated in widespread rebellions and demonstrations in the form of the "smashing" of rice establishments. Meanwhile, supporters of the Meiji Emperor leveraged the disruption that t
Japanese
