The Return of the Sister Street Fighter
The Return of the Sister Street Fighter is a 1975 Japanese martial arts film directed by Kazuhiko Yamaguchi and starred by Etsuko Shihomi. This movie is a sequel to Sister Street Fighter and Sister Street Fighter: Hanging by a Thread. Etsuko Shihomi as Lǐ Hóng-Lóng Yasuaki Kurata as Go Kurosaki Akane Kawasaki as Xiu-Li Miwa Cho as Li-Hua Mitchi Love as Michi Katahira Jirô Yabuki as Xiang De-Ki Rin'ichi Yamamoto as Wang Long-Ming Matt Paprocki from the website "DoBlu" gave the film three out of five stars and wrote: "A highlight reel of its predecessors, Return of the Sister Street Fighter isn’t one for original ideas, but it’s still a goofy blast of fun." Don Anelli from the "Asian Movie Pulse" said: "With some engaging action and a lot to like elsewhere, ‘Return of Sister Street Fighter’ returns to the fun of the original with some of the same problems that emerged in the previous entry as the flaws are just a touch more enhanced here. Give this one a shot if you’ve made it this far in the series or just looking for a light, breezy action film while those looking to get more out of their films should heed caution."
David Brook from the online magazine Blueprintreview wrote about the "Sister Street Fighter" series of films, giving it three and a half stars out of five and stating: "So, the films in the set are flawed, with a little too much repetition and the first three could have benefitted from a breather here and there in amongst the near-constant fighting. The fourth film goes too far the other way, lacking the energy of its predecessors, but regardless, the films are a lot of fun. With lashings of gore, high-quality martial arts sequences with wacky flourishes thrown in to the mix, they’ll be sure to please fans of Japanese genre movies." The Return of the Sister Street Fighter on IMDb
Martial arts are codified systems and traditions of combat practiced for a number of reasons such as self-defense and law enforcement applications, physical and spiritual development. Although the term martial art has become associated with the fighting arts of East Asia, it referred to the combat systems of Europe as early as the 1550s; the term means "arts of Mars", the Roman god of war. Some authors have argued that fighting arts or fighting systems would be more appropriate on the basis that many martial arts were never "martial" in the sense of being used or created by professional warriors. Martial arts may be categorized along a variety of criteria, including: Traditional or historical arts vs. contemporary styles of folk wrestling and modern hybrid martial arts. Techniques taught: Armed vs. unarmed, within these groups by type of weapon and by type of combat By application or intent: self-defense, combat sport, choreography or demonstration of forms, physical fitness, etc. Within Chinese tradition: "external" vs. "internal" styles UnarmedUnarmed martial arts can be broadly grouped into focusing on strikes, those focusing on grappling and those that cover both fields described as hybrid martial arts.
Strikes Punching: Boxing, Wing Chun, Karate Kicking: Taekwondo, Savate Others using strikes: Muay Thai, Kung Fu, Pencak SilatGrappling Throwing: Hapkido, Sumo, Aikido Joint lock/Chokeholds/Submission holds: Judo, Brazilian jiu-jitsu, Sambo Pinning Techniques: Judo, AikidoArmedThe traditional martial arts, which train in armed combat encompass a wide spectrum of melee weapons, including bladed weapons and polearms. Such traditions include eskrima, kalaripayat and historical European martial arts those of the German Renaissance. Many Chinese martial arts feature weapons as part of their curriculum. Sometimes, training with one specific weapon will be considered a style of martial arts in its own right, the case in Japanese martial arts with disciplines such as kenjutsu and kendo and kyudo. Modern martial arts and sports include modern fencing, stick-fighting systems like canne de combat, modern competitive archery. Combat-oriented Health-orientedMany martial arts those from Asia teach side disciplines which pertain to medicinal practices.
This is prevalent in traditional Asian martial arts which may teach bone-setting and other aspects of traditional medicine. Spirituality-orientedMartial arts can be linked with religion and spirituality. Numerous systems are reputed to have been disseminated, or practiced by monks or nuns. Throughout Asia, meditation may be incorporated as part of training. In those countries influenced by Hindu-Buddhist philosophy, the art itself may be used as an aid to attaining enlightenment. Japanese styles, when concerning non-physical qualities of the combat, are strongly influenced by Mahayana Buddhist philosophy. Concepts like "empty mind" and "beginner's mind" are recurrent. Aikido, for instance, can have a strong philosophical belief of the flow of energy and peace fostering, as idealised by its founder Morihei Ueshiba. Traditional Korean martial arts place emphasis on the development of the practitioner's spiritual and philosophical development. A common theme in most Korean styles, such as taekkyeon and taekwondo, is the value of "inner peace" in a practitioner, stressed to be only achieved through individual meditation and training.
The Koreans believe. Systema draws upon breathing and relaxation techniques, as well as elements of Russian Orthodox thought, to foster self-conscience and calmness, to benefit the practitioner in different levels: the physical, the psychological and the spiritual; some martial arts in various cultures can be performed in dance-like settings for various reasons, such as for evoking ferocity in preparation for battle or showing off skill in a more stylized manner. Many such martial arts incorporate music strong percussive rhythms; the oldest works of art depicting scenes of battle are cave paintings from eastern Spain dated between 10,000 and 6,000 BCE that show organized groups fighting with bows and arrows. Chinese martial arts originated during the legendary apocryphal, Xia Dynasty more than 4000 years ago, it is said. The Yellow Emperor is described as a famous general who before becoming China's leader, wrote lengthy treatises on medicine and martial arts. One of his main opponents was Chi You, credited as the creator of jiao di, a forerunner to the modern art of Chinese wrestling.
The foundation of modern Asian martial arts is a blend of early Chinese and Indian martial arts. During the Warring States period of Chinese history extensive development in martial philosophy and strategy emerged, as described by Sun Tzu in The Art of War. Legendary accounts link the origin of Shaolinquan to the spread of Buddhism from ancient India during the early 5th century AD, with the figure of Bodhidharma, to China. Written evidence of martial arts in Southern India dates back to the Sangam literature of about the 2nd century BC to the 2nd century AD; the combat techniques of the Sangam period were the earliest precursors to Kalaripayattu. In Europe, the earlie
Wandering Ginza Butterfly
Wandering Ginza Butterfly is a 1972 Japanese gangster film directed by Kazuhiko Yamaguchi, co-written with Isao Matsumoto. The movie stars Tsunehiko Watase; the movie was followed with a 1972 sequel entitled Gincho Nagaremono: Mesuneko Bakuchi. Nami, a Bōsōzoku leader, kills a high-ranking member of a yakuza organization, due to a turf war and is sent to prison. After serving three years, she finds a home living with her uncle at a pool hall. After meeting a pimp named Ryuji, she acquires a job as a hostess in Ginza, where she soon becomes popular. However, her criminal past is not left behind. Further complicating matters is a local yakuza named Owada, who attempts to take control of the bar and kills Ryuji's sworn brother. Defending her uncle's business and seeking revenge, Nami goes after Owada. Meiko Kaji Tsunehiko Watase Akiko Koyama Koji Nanbara Tatsuo Umemiya Wandering Ginza Butterfly on IMDb
Wandering Ginza Butterfly 2: She-Cat Gambler
Wandering Ginza Butterfly 2: She-Cat Gambler is a 1972 film, a sequel to Wandering Ginza Butterfly. The movie was directed by Kazuhiko Yamaguchi, co-written with Isao Matsumoto and stars Meiko Kaji and Junzaburo Ban. Seeking revenge for the death of her father, Nami is now on the hunt for Hoshiden. After arriving in Tokyo, Nami once again becomes a hostess at a Ginza club, while searching every alley and gambling spot for Hoshiden, with the help of Ryuji. Meiko Kaji Junzaburo Ban Tamayo Mitsukawa Shingo Yamashiro Yukie Kagawa Sonny Chiba Wandering Ginza Butterfly 2: She-Cat Gambler on IMDb
Cinema of Japan
The cinema of Japan has a history that spans more than 100 years. Japan has one of the largest film industries in the world. In 2011 Japan produced 411 feature films that earned 54.9% of a box office total of US$2.338 billion. Movies have been produced in Japan since 1897. In a Sight & Sound list of the best films produced in Asia, Japanese works made up eight of the top 12, with Tokyo Story ranked number one. Japan has won the Academy Award for the Best Foreign Language Film one time, more than any other Asian country; the kinetoscope, first shown commercially by Thomas Edison in the United States in 1894, was first shown in Japan in November 1896. The Vitascope and the Lumière Brothers' Cinematograph were first presented in Japan in early 1897, by businessmen such as Inabata Katsutaro. Lumière cameramen were the first to shoot films in Japan. Moving pictures, were not an new experience for the Japanese because of their rich tradition of pre-cinematic devices such as gentō or the magic lantern.
The first successful Japanese film in late 1897 showed sights in Tokyo. In 1898 some ghost films were made, the Shirō Asano shorts Bake Jizo and Shinin no sosei; the first documentary, the short Geisha no teodori, was made in June 1899. Tsunekichi Shibata made a number of early films, including Momijigari, an 1899 record of two famous actors performing a scene from a well-known kabuki play. Early films were influenced by traditional theater – for example and bunraku. At the dawn of the twentieth century theaters in Japan hired benshi, storytellers who sat next to the screen and narrated silent movies, they were descendants of kabuki jōruri, kōdan storytellers, theater barkers and other forms of oral storytelling. Benshi could be accompanied by music like silent films from cinema of the West. With the advent of sound in the early 1930s, the benshi declined. In 1908, Shōzō Makino, considered the pioneering director of Japanese film, began his influential career with Honnōji gassen, produced for Yokota Shōkai.
Shōzō recruited a former kabuki actor, to star in his productions. Onoe became Japan's first film star, appearing in over 1,000 films shorts, between 1909 and 1926; the pair pioneered the jidaigeki genre. Tokihiko Okada was a popular romantic lead of the same era; the first Japanese film production studio was built in 1909 by the Yoshizawa Shōten company in Tokyo. The first female Japanese performer to appear in a film professionally was the dancer/actress Tokuko Nagai Takagi, who appeared in four shorts for the American-based Thanhouser Company between 1911 and 1914. Among intellectuals, critiques of Japanese cinema grew in the 1910s and developed into a movement that transformed Japanese film. Film criticism began with early film magazines such as Katsudō shashinkai and a full-length book written by Yasunosuke Gonda in 1914, but many early film critics focused on chastising the work of studios like Nikkatsu and Tenkatsu for being too theatrical and for not utilizing what were considered more cinematic techniques to tell stories, instead relying on benshi.
In what was named the Pure Film Movement, writers in magazines such as Kinema Record called for a broader use of such cinematic techniques. Some of these critics, such as Norimasa Kaeriyama, went on to put their ideas into practice by directing such films as The Glow of Life, one of the first films to use actresses. There were parallel efforts elsewhere in the film industry. In his 1917 film The Captain's Daughter, Masao Inoue started using techniques new to the silent film era, such as the close-up and cut back; the Pure Film Movement was central in the development of the scriptwriting. New studios established around 1920, such as Taikatsu, aided the cause for reform. At Taikatsu, Thomas Kurihara directed films scripted by the novelist Junichiro Tanizaki, a strong advocate of film reform. Nikkatsu produced reformist films under the direction of Eizō Tanaka. By the mid-1920s, actresses had replaced onnagata and films used more of the devices pioneered by Inoue; some of the most discussed silent films from Japan are those of Kenji Mizoguchi, whose works are still regarded.
Japanese films gained popularity in the mid-1920s against foreign films, in part fueled by the popularity of movie stars and a new style of jidaigeki. Directors such as Daisuke Itō and Masahiro Makino made samurai films like A Diary of Chuji's Travels and Roningai featuring rebellious antiheroes in fast-cut fight scenes that were both critically acclaimed and commercial successes; some stars, such as Tsumasaburo Bando, Kanjūrō Arashi, Chiezō Kataoka, Takako Irie and Utaemon Ichikawa, were inspired by Makino Film Productions and formed their own independent production companies where directors such as Hiroshi Inagaki, Mansaku Itami and Sadao Yamanaka honed their skills. Director Teinosuke Kinugasa created a production company to produce the experimental masterpiece A Page of Madness, starring Masao Inoue, in 1926. Many of these companies, while surviving during the silent era against major studios like Nikkatsu, Shochiku and Toa Studios, could not survive the cost involved in converting to sound.
With the rise of left-wing political movements and labor unions at the end of the 1920s arose so-called tendency films with left-wing "tendencies", with prominent examples being directed by Ken
Shinichi Chiba known as Sonny Chiba, is a Japanese actor, film producer, film director, martial artist. Chiba was one of the first actors to achieve stardom through his skills in martial arts in Japan and before an international audience. Born Sadaho Maeda in Fukuoka, Japan, he was the third of five children in the family of a military test pilot; when he was four years old, his father was transferred to Kisarazu and the family moved to Kimitsu, Chiba. After Chiba went to junior high school in Kimitsu, the physical education teacher advised him to do artistic gymnastics, he was passionate about track and field sports and volleyball. He participated in those four sports championships of Chiba Prefecture. In high school, Chiba dedicated himself to artistic gymnastics and won the National Sports Festival of Japan while in his third year, he enjoyed watching Western movies like High Noon. Chiba went to the Nippon Sport Science University in 1957, he was a serious candidate for a place in the Japanese Olympic team in his late teens until he was sidelined by a back injury.
While he was a university student, he began studying martial arts with the renowned Kyokushin Karate master Masutatsu "Mas" Oyama, which led to a first-degree black belt on October 15, 1965 receiving a fourth-degree on January 20, 1984. Sometime around 1960, he was discovered in a talent search by the Toei film studio, he began his screen career soon after; the CEO of Toei at the time bestowed him with the stage name "Shinichi Chiba." His acting career began on television, starring in two tokusatsu superhero shows, first replacing Susumu Wajima as the main character Kōtarō Ran/ Seven Color Mask in Seven Color Mask in the second half of the series starred as Gorō Narumi/Messenger of Allah in Messenger of Allah. His movie debut and first starring movie role was the 1961 science fiction movie Invasion of the Neptune Men; that year, Chiba appeared in the first Kinji Fukasaku film, Wandering Detective: Tragedy in Red Valley which marked the beginning of a long series of collaborations for the two.
Over the next decade, he was cast in crime thrillers. By 1970, Chiba had started his own training school for aspiring martial arts film actors and stunt performers known as J. A. C, he starred in the Karate Kiba, after appearing on the Battles Without Honor and Humanity: Deadly Fight in Hiroshima in 1973. Karate Kiba was the first movie for him about martial arts. Chiba's breakthrough international hit was The Street Fighter, brought to Western audiences by New Line Cinema; the film and its sequels established him as the reigning Japanese martial arts actor in international cinema for the next two decades. It was New Line Cinema founder Robert Shaye who gave Chiba the English name "Sonny", which Chiba would adopt as his own from that point on, his subsequent projects included such pictures as The Bullet Train, Karate Warriors, Doberman Cop, Golgo 13: Assignment Kowloon and The Assassin. He occasionally returned to the science fiction genre, in movies such as Message from Space, he began to star on some jidaigeki such as Shogun's Samurai, The Fall of Ako Castle, G.
I. Samurai, Shadow Warriors, Samurai Reincarnation, he was not only actor but stunt coordinator at G. I. Samurai, Burning Brave, Shogun's Shadow and executive producer, film director at Yellow Fangs. Chiba was busier in the 1980s, doing dozens of movies as well as making forays into television, with roles in such high-profile adventures as the popular Hong Kong comic-based movie: The Storm Riders, starring alongside Ekin Cheng and Aaron Kwok, his fame in Japan remained unabated into the 1990s. In his fifties, the actor resumed working as a choreographer of martial arts sequences. At the dawn of the 21st century, Chiba was as busy as in feature films and starring in his own series in Japan. Roles in Takashi Miike's Deadly Outlaw: Rekka and his work with directors Kenta and Kinji Fukasaku's Battle Royale II bridged the gap between modern day and yesteryear cinematic cult legends. Chiba's enduring onscreen career received a tribute when he appeared in a key role as Hattori Hanzo, the owner of a sushi restaurant and retired samurai sword craftsman, in director Quentin Tarantino's bloody revenge epic Kill Bill in 2003.
Chiba has starred in more than 125 films for Toei Studios and has won numerous awards in Japan for his acting. In November 2007, he announced the retirement of the stage name Shinichi Chiba and will now be known as J. J. Sonny Chiba as an actor and Rindō Wachinaga as a film director. Chiba established the Japan Action Club, now Japan Action Enterprise to develop and raise the level of martial arts techniques and sequences used in Japanese film and television. Chiba divorced his first wife, actress Yōko Nogiwa, with whom he has a daughter, Juri Manase, an actress, he has two sons from his second marriage to Tamami Chiba: child actor Mackenyu Arata, born on November 16, 1996, Gordon, born in 1998. He lives in Yokohama, Japan, his younger brother, Jirō Yabuki, was an actor. Christian Slater's character Clarence Worley in True Romance is a fan of Chiba. In a pivotal early scene he watches a Sonny Chiba triple feature; the writer of True Rom
Champion of Death
Champion Of Death known as Karate Bullfighter, is a Japanese martial arts film made by the Toei Company in 1975. It was the first in a trilogy of films based on the manga Karate Baka Ichidai, a manga based on Masutatsu Oyama's life by Ikki Kajiwara, Jiro Tsunoda and Jōya Kagemaru. Sonny Chiba stars as his former master Oyama, the founder of Kyokushin karate. Chiba would reprise this role in two more films Karate Bearfighter, Karate for Life. Korean descent Japanese karate master who tries to prove that his karate is better than the modern "dance" karate. Based on Mas Oyama portrayed by actor Sonny Chiba. Sonny Chiba as Mas Oyama Yumi Takigawa as Chiako Mikio Narita as Nakasone Katsumasa Uchida Jiro Chiba as Shogo Ariake Japanese Movie Database Kenka karate kyokushinken on IMDb Kenka karate kyokushinken at AllMovie