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Several new anime directors rose to widespread recognition, bringing with them notions of anime as not only entertainment, but modern art. Mamoru Oshii released the internationally acclaimed philosophical science fiction action film Ghost in the Shell in Satoshi Kon directed the award-winning psychological thriller Perfect Blue. Hideaki Anno also gained considerable recognition with The End of Evangelion in The number of movies being shown in Japan steadily increased, with about films released in Movies based on Japanese television series were especially popular during this period.

Anime films now accounted for 60 percent of Japanese film production. The s and s are considered to be "Japanese Cinema's Second Golden Age", due to the immense popularity of anime, both within Japan and overseas. In , Godzilla: Final Wars , directed by Ryuhei Kitamura , was released to celebrate the 50th anniversary of Godzilla. In , director Seijun Suzuki made his 56th film, Princess Raccoon.

Hirokazu Koreeda claimed film festival awards around the world with two of his films Distance and Nobody Knows. Yoji Yamada , director of the Otoko wa Tsurai yo series, made a trilogy of acclaimed revisionist samurai films, 's Twilight Samurai , followed by The Hidden Blade in and Love and Honor in In anime, Hayao Miyazaki directed Spirited Away in , breaking Japanese box office records and winning several awards—including the Academy Award for Best Animated Feature in [40] —followed by Howl's Moving Castle and Ponyo in and respectively.

In , Mamoru Oshii released the anime movie Ghost in the Shell 2: Innocence which received critical praise around the world. His film The Sky Crawlers was met with similarly positive international reception. Satoshi Kon also released three quieter, but nonetheless highly successful films: Millennium Actress , Tokyo Godfathers , and Paprika. Katsuhiro Otomo released Steamboy , his first animated project since the short film compilation Memories , in After several years of directing primarily lower-key live-action films, Hideaki Anno formed his own production studio and revisited his still-popular Evangelion franchise with the Rebuild of Evangelion tetralogy, a new series of films providing an alternate retelling of the original story.

The laws were passed on November 30 and came into effect on December 7. In , at a gathering for the Agency of Cultural Affairs, twelve policies were proposed in a written report to allow public-made films to be promoted and shown at the Film Center of the National Museum of Modern Art. Genres of Japanese film include: [ citation needed ].

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From Wikipedia, the free encyclopedia. Further information: War film. This section needs expansion. You can help by adding to it. April Motion Picture Producers Association of Japan. Retrieved 7 May Retrieved March 24, Screen Australia. Archived from the original on October 27, Retrieved Anime News Network. British Film Institute. December 4, BBC Culture. Retrieved 1 November Gendai Shokan. Who's Who of Victorian Cinema. Retrieved 14 December Media Art Plaza. Archived from the original on 28 May Retrieved 29 December McDonald Reading a Japanese Film: Cinema in Context.

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University of Hawaii Press. Archived from the original on May 28, Retrieved June 8, Edwin Mellen Press. Matsuda Film Productions.

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New York: Continuum. Bright Lights Film Journal 30 October The Japanese Period Film. In Miyao, Daisuke ed. The Oxford Handbook of Japanese Cinema. Oxford University Press. Retrieved 27 April Retrieved April 24, Retrieved 27 November The Warrior's Camera. Princeton University Press. American Film Institute. The Documentaries of Noriaki Tsuchimoto. Zakka Films. Currents in Japanese Cinema. Academy of Motion Picture Arts and Sciences. Archived from the original on November 28, Retrieved December 1, Film Business Asia.

Retrieved April 12, Archived from the original on 3 March Retrieved 30 January Blair January 28, The Hollywood Reporter. Blair January 26, Japan portal Category Outline. Cinema of Japan. World cinema. National cinema. Algeria Egypt Morocco Tunisia. Djibouti Kenya Somalia Uganda.

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Namespaces Article Talk. Far from putting off the legions of something men looking for 'action', my age was virtually an aphrodisiac for many of them. The fact is, young men always have and always will fantasize about older women. Most striking is the large number of men in their mid-to-late 30s who have not yet settled into long-term relationships. So I became Tinderised. I had my escapades, some exciting, others less so. But after only three weeks I deleted my account.

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The thing about young men, especially in today's digital world, where all arrangements are subject to change and attention spans are minuscule, is that they are infuriatingly unreliable. So, call me old-fashioned, but in the end I simply got fed up with their flighty behavior. Fast-forward a couple of years. I have just been having another little spell on Tinder, and what a transformation since those early days!

The users' flightiness is still there, but no longer is it a dedicated forum for randy young guys and lovelorn girls. It has evolved into a proper microcosm of our society, and the overs -- so many of whom are footloose and fancy-free after relationship break-ups -- have taken to it with a vengeance. They too have seen that Tinder is a quicker, easier, less painful and free alternative to the more serious dating websites, such as eHarmony and Match. And it works. That is, as long as you do 'match' with people on the app, and those matches lead to actual offline meetings.

On Tinder you can find doctors and documentary filmmakers, City financiers and Oxbridge students, in the same pack of cards as construction workers, painter-decorators and cabbies. And talk about multi-cultural! The common factor which unites them all is the search for a mate, short-term or long-term, for sex or for love or for companionship. The oldest man I have seen on Tinder was an year-old widower. Although he looked every bit his age, he seemed lively and good-natured and was clearly game to meet new ladies to help take his life forward.

But I wondered, a little sadly, which woman on the app would swipe right for 'yes' for the elderly, frail gent. I mean, is he very wealthy or something? Moving down a notch, I gasped when I spotted a family friend, a long-married man and paterfamilias with a horde of offspring, as well as several grandchildren.

He is Grey locks flowing, a naughty smile playing on his lips, he announced that he was 'up for anything'. If I was stunned, how on earth would his wife feel? Still on the game, like perpetual teenagers just after some no-responsibility fun, even though they are creeping towards the border of middle age. In any previous generation, most men of that age would already be married and have started a family. But this lot have been infantilized by decades of playing on their Nintendos and PlayStations and Xboxes.

And then the tsunami hit.

They don't want to grow up. And the high incidence of divorce in their parents' generation undoubtedly makes many shy away from serious commitment. Reflecting society as a whole, Tinder today is also riddled with weirdos, saddos, kinky types, poseurs, cheats both overt and covert , blatant idiots, the deadly dull and the self-deluded. You have only to look at their awful pictures and read their profile spiel -- either semi-literate or pretentious or both -- to know you wouldn't swipe right for any of them, even if they were the last males of the species.

And I haven't even mentioned those stupid-looking sleeve tattoos, now commonplace. I have matched with a few charming and thoroughly decent men, and had some enjoyable dates.

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Obviously, I am highly selective in my right-swiping. But even so, you can find yourself in an utter mismatch. Ted, for example. Aged 37, intelligent, professional, presentable, nice manners. We exchanged messages in the build-up to a meeting.