Josh Slayerx

A friend of mine is pseudo famous on instagram and she couldnt disassociate herself from her online persona and it really warped her perception of reality. she would call me from time to time having an excesstiatial crisis (loneliness, pressure to project an unobtainable image, to much concern of vanity, never ending praise or criticism from her online audience. However, when she was asked by random people about her job, she would make it seem like it was the best thing that has ever happened to her. when i would confront her about it, she would say life has high and lows. i would pressure her more and say you were telling me how lonely and under pressure you are and that you went to bed around 7 most nights just to end the day. do you mean to tell me tell me this is all worth it? to be someone who your not? then she would reverse the conversation and say is everyday at your job perfect? how dare you bring up my lowest points to make me feel bad. not everyones jobs are perfect. I mean, i work as a vet tech and there have been numerous days that have been terrible, but i know that i can leave, and be with friends and family and forget about the day. My job is not who i am, but to her, her job is who she is because shes basically selling herself. its a 24/7 type of gig, and it must be exhausting to pretend to be happy, or not be yourself all the time. her highs were to high, and her lows were to low and her job had no apparent substance. What was she really producing? it really disturbed me, and it made me feel like i had no idea who she really was.
This is probably the first time I've ever applauded after the end of a YT clip, now this is what i call great content. Keep it going brah cuz this was simply brilliant.

This was really moving, thank you for making it. Abstract: The aim of this master’s thesis was to compare two films, the American western 3 Godfathers (1948) and the Japanese anime Tokyo Godfathers (2003). The first film was directed by John Ford, and the second one by Satoshi Kon. Both productions are adaptations of the book The Three Godfathers, written by Peter Kyne in 1913. It describes the experiences of three criminals (pariahs) who run away through the desert. During the escape they find an infant. They decide to take care of it and eventually become its godfathers. The motif of redemptive journey is very important here. The child can be compared to the Baby Jesus. The action of the novel takes place in the Wild West at Christmas time. While John Ford presented similar circumstances in his film, Satoshi Kon radically altered them. The appearance of an infant, social exclusion and inner transformation of main characters is still important; however, the heroes are not cowboys, but homeless people. Furthermore, Kon moved the film’s action to Tokyo and embedded the plot in the Japanese reality. The motifs depicted in the films are similar. The heroes struggle with many obstacles, but ultimately manage to save the child and gain social recognition. Providence watches over them all the time. However, due to the cultural differences, the above themes are presented in a various manner. In addition, the films differ from each other in respect of their modes of production. For that reason, the comparative analysis will allow us not only to see how the directors realised the above topics, but will also provide valuable information on the Japanese and American culture. Bearing that in mind, the first chapter is devoted to the analysis of films in relation to their genres. According to the available resources, the author presents the general features of the western and anime, as well as the most important facts on both directors. Later, she performs the above-mentioned analysis in accordance with the discussed theory. The second chapter consists of two parts. In the first part, the author describes the issue of religiosity in the United States and Japan. Next, she makes use of this information while analysing religious motifs in both films. The second part of the chapter focuses on social exclusion. According to the publications of various scientists, the author explains the nature of this phenomenon. She draws particular attention to homelessness in Japan as it is a significant element of the film Tokyo Godfathers. Then she discusses the American typology of the official and outlaw hero, which, in turn, is important for the movie 3 Godfathers. This information will be further used to study the situation of the film characters (the outcasts). At the end, the author explains who a hero is and what the Christian concept of redemption stands for. The third chapter includes the analyses of four film scenes, two from each production. Here, the author focuses on presenting the whole transformation of the characters, from the moment of decision-making to becoming a hero and gaining social acceptance. In the conclusion, the author sums up the features of American and Japanese culture, which result from the film analysis, as well as the theory given in the previous chapters. Celem niniejszej pracy magisterskiej było porównanie dwóch filmów, amerykańskiego westernu pt. 3 Godfathers (Trzej Ojcowie Chrzestni, 1948) oraz japońskiej anime pt. Tokyo Godfathers (Rodzice Chrzestni z Tokio, 2003). Reżyserem pierwszego filmu jest John Ford, a drugiego Satoshi Kon. Okazuje się, że obydwie produkcje stanowią adaptację książki o tym samym tytule, co western, napisanej przez Petera Kyne’a w 1913r. Opisuje ona doświadczenia trzech przestępców, wyrzutków społecznych, którzy uciekają przez pustynie. W trakcie ucieczki znajdują noworodka. Postanawiają go uratować, ostatecznie zostają jego ojcami chrzestnymi. Bardzo ważny jest tutaj motyw wewnętrznego oczyszczenia, odkupienia win. Należy zaznaczyć, że noworodek jest porównywany do Dzieciątka Jesus. Akcja książki rozgrywa się na Dzikim Zachodzie w czasie Świąt Bożego Narodzenia. Podczas gdy John Ford przedstawił podobne okoliczności w swoim filmie, Satoshi Kon całkowicie je zmienił. Wciąż ważny jest motyw dziecka, wykluczenia społecznego i wewnętrznej przemiany głównych bohaterów, jednakże nie są oni kowbojami, tylko bezdomnymi. Co więcej, Kon przeniósł akcję filmu do Tokio i osadził fabułę w japońskich realiach. Problematyka obydwóch filmów jest bardzo podobna. Bohaterowie zmagają się z wieloma przeciwnościami losu, ale ostatecznie udaje im się uratować dziecko i zyskać uznanie społeczne. Przez cały czas czuwa nad nimi Opatrzność. Powyższe motywy zostały jednak zaprezentowane w różny sposób ze względu na odmienność kulturową między Japonią a Stanami Zjednoczonymi. Ponadto, filmy różnią się od siebie przez wzgląd na gatunek. Analiza porównawcza pozwoli nam zatem zobaczyć, jak reżyserowie zrealizowali powyższą tematykę oraz dostarczy cennych informacji na temat kultury obydwu krajów. Pierwszy rozdział pracy poświęcony jest analizie filmów przez wzgląd na ich gatunek. Na podstawie dostępnych źródeł autorka przedstawia ogólne cechy westernu i anime, jak również podaje najważniejsze informacje o reżyserach. W oparciu o te teorię dokonuje wyżej wspomnianej analizy. Drugi rozdział składa się z dwóch części. W pierwszej części autorka omawia kwestię religijności w Stanach Zjednoczonych i Japonii. Następnie wykorzystuje tę wiedzę do zbadania motywów religijnych w obydwóch filmach. Druga część rozdziału dotyczy wykluczenia społecznego. Korzystając z publikacji różnych naukowców, autorka tłumaczy, czym jest to zjawisko. Szczególną uwagą poświęca bezdomności, gdyż jest to kluczowy element filmu Ojcowie Chrzestni z Tokio. Następnie przedstawia amerykańską typologię bohaterów, która jest z kolei ważna dla filmu Trzej Ojcowie Chrzestni. Te informacje posłużą jej do przeanalizowania sytuacji filmowych bohaterów (wyrzutków społecznych). Na końcu autorka wyjaśnia kim jest bohater i z czym wiąże się chrześcijański koncept odkupienia grzechów. Trzeci rozdział prezentuje analizę czterech scen filmowych, po dwie z każdej produkcji. Tutaj autorka skupia się na omówieniu całej przemiany bohaterów, od momentu podjęcia decyzji o zaopiekowaniu się noworodkiem, do uzyskania akceptacji społecznej i tytułu bohatera. W zakończeniu autorka przedstawia cechy kultury amerykańskiej i japońskiej, który wynikają z analizy filmów, jak również teorii podanej we wcześniejszych rozdziałach. Keywords: 3 Godfathers, Tokyo Godfathers, John Ford, Satoshi Kon, Japan, the United States, social exclusion, an outcast, a homeless person, a criminal, a hero, God, redemption/catharsis, religion Trzej Ojcowie Chrzestni, Ojcowie Chrzestni z Tokio, John Ford, Satoshi Kon, Japonia, Stany Zjednoczone, wykluczenie społeczne, wyrzutek, bezdomny, przestępca, bohater, Bóg, odkupienie/katharsis, religia.
Dvdrip 5k rodzice chrzestni z tokio 2018.

Take Three Fathers, demote them to homeless people, multiply by 100, make it anime and you get the wonderful Tokyo Godfathers. At first I thought the animation was not great, the story was about Christmas, homeless people, drags, what could I like about it? Everything!

If this would have been a Hollywood movie it still would have been great. It actually doesn't feel Japanese at all. It's an action comedy that lets you feeling good about yourself, not depressed. br> Looking back at the movie, now that I've seen it, the almost caricaturesque animation completes the very well thought script, the good music and the basic plot. It is definitely worth the watch. I highly recommend it.

“Putting forward a perfect version of ourselves” I dont know about you, but on my IG all I post is memes with little to no context. Wow. Youre so eloquent. I loved this. SPOILERS ALERT! All my reviews have spoilers! First I need to say ? You’ve been mocked by Kon! And it doesn’t matter if you’re a western or a eastern; a Christian or a Buddhist; if you think this is about religion of family ? the real truth is YOU’VE BEEN MOCKED! This movie was released in 2003 under the direction of Satoshi Kon and Shougo Furuya, and was also co-written by Kon and Keiko Nobumo (Wolf’s Rain). The story begins in Christmas Eve, in Tokyo, where a trio of homeless people discovers an abandoned newborn dumped in the trash, and they’ll pass by a lot of ups and downs to deliver this baby to her real parents. It’s very interesting to see how the westerns always try to see this movie by their perspective when they forget that the Japanese view is completely different! And Kon deliberately grabs this multicultural factor and puts it in this movie, and you know Kon, he’s very good with ironies! There are some facts you need to understand before you try to judge this animation, and I’m going to try to explain them by conjugating the western and the Japanese view to establish the contrasts and make you see where the mockery resides. Let’s begin with the title: for a western the title has a deep related mean with the Christian idea of protection ? a godfather is a person who’s left in charge of a child when the parents die; for Japanese a godfather is a high ranked yakuza! So they look at this title and say ?These homelessness must be some bad asses! ?… Other important aspect about the title is that despite the plot being based in the 1948 “The Three Godfathers” there’s a point why this title is different! In a title like (3) Godfathers, there’s a conception of individuality, but this movie points out to a society (Tokyo) and Japan’s society has his basic unit in the family concept rather than the individual. The influence of the western globalization brought this conception of individuality that wasn’t present in the Japanese’s traditional bound society and a lot of psychosocial issues began to appear ? the globalization blurred the traditional foundations. So the title has a special emphasis on the society! In the beginning of the movie it’s also establish the main theme when the father is preaching - If you watch closely he’s talking about a very important thing: Home! This whole movie is about identity! The multicultural factor can make societies lose their identity, and identity is what defines you, is what takes you home! And despite the lot of resemblances you’ll make with Christians ideas, Kon puts a very special reminder of a Japanese cultural tradition when Hana recites Haiku’s along the movie! If you thought about religion, and nativity, when watching this movie, you’re not completely wrong! But our Kiyoko, the “pure child” it’s actually an allegory to Buddha! Which is emphasized by her mark in her forehead (no, it’s not there just for the design! ). So, Kon deliberately mocks your concept of nativity putting a “Buddha” in the trio arms! Other thing that is laughable is the inter-mixed generated for these two religions in a character ? Hana. She’s the one that is always defending that every circumstance is a miracle from God, when the Christian religion does not approve homosexuals! And this is an aspect that you don’t have in Japan ? Buddhism, Shintoism or Confusionism, any of them disapproved homosexuals! So, again, Kon is mocking with this fact! The application of “miracles” here seems very ambiguous - despite Hana keep saying that everything is a miracle from the Providence; they are all in fact coincidences. There’s only one moment that we could say it’s a miracle: when the Old Man (possibly God, by the light shades) leaves this red bag with a winning lottery; other moment that you might find to be a miracle is when Hana is falling with the baby, but the baby stops crying, she’s at peace (that can be associated with a Buddhist concept too, again the intermixed). In fact, the way the two religions see miracles are completely diverge: Christians believe that God gives/make miracles; the Buddhism believes that a miracle can happen within you when you understand how to get rid of suffer, and Kiyoko actually works as a guide for this trio to understand that they don’t have reasons to be suffering. I don’t think Kon is forcing a Christian view here; he actually mocks the angels putting a hostess as one, and despite the characters going to the Christian ceremony, they do the offerings in the year-end Buddhist temple (which is a tradition) so, you shouldn’t look at this movie by just one side when this is about mockery! Only 1% of the Japanese are Christians so they don’t have the notions you have about this theme. Christmas Eve is a day when you eat chicken and a Japanese Christmas cake, and take a walk with your love, or give her/him a present. In fact, is more like you’re Valentine’s Day! And the Years-End… yes, can be more like your Christmas but with no nativity associations… Each character seems to be related to certain typo social: Hana is the open minded one (in all aspects! ), she accepts spirituality very widely. She’s a cross-dresser, and you’ll see a lot of cross-dressers in Tokyo (which doesn’t imply that they are homo! ); she’s very kind and lovable and she’s one of the coolest homo portraits I’ve seen in animation! Gin is really the type of homeless you’ll see more in the major cities of Japan ? man in his 40’s, with alcoholic issues, that was a failure at business and began gathering debts. They feel too much ashamed to face their families so they exile in homelessness communities. Homelessness in Japan are a bit different from what I’ve seen in other technological countries, they are organized, and do not ask you for money ? they live by the trash disposals. It’s true that people pretend that they don’t exist, but most of them are a reflection of the precarious work that began with the 90’s rescession. One important fact is that our three characters are on the streets because they chosed to be there ? Hana can go back to the club; Gin can go back home; and Miyuki can go back to her parents ? they weren’t the ones’ that got abandoned (well unless Hana when born…), they all left because they felt they should do it instead of facing their problems! Muyiki represents the teens, rebellious, attracted to the kawaii culture to repress their feelings (that’s why she loves cats), only having a shadow of her father because he overworks, obese by the consumerism culture… This movie is actually just a pulling string of something that is going to be much more explored in “Paranoia Agent” ? the victimhood culture; the society bounds breaking; and that’s why he even mocks the traditional idea of family putting these three acting like one! Tokyo is, itself, a character too in here. You have the darkest sides of an industrialized, overpopulated, and technologic city where you have clubs, illegal immigrants, shady deals, dirty alleys, Yakuzas, gangs, homelessness and oversized trash. And let me tell you, trash is really a big issue in Tokyo and Osaka! The consumerism brought a high rate of disposable trash, and it’s common to see people almost sunk in their own trash at home! There’s actually a scene in the movie that shows that, is when Gin goes to Sachiko’s husband place and there’s a pile of trash everywhere! Why does this happen? Well in Japan you pay fees for garbage collections which means if you consume a lot this week you probably can’t dump all in this week (unless you want to pay! ), there are 6 types of trash and there’s a collector schedule to dispose each type of trash in a certain day of the week. So, if today was cans and you forgot it, it’s gone! You need to wait for the next week. Many people accumulate trash in the big city, and it’s funny that we almost could say that is like living as a homeless with the trash surrounding you… The characters feel very realistic, and the animation helps a lot with this factor putting excessive expressive faces, emphasizing the comedian side, and I always laugh when Hana is discussing with Gin at the hospital! The visuals work well; the tones of the city are well represented, and some background can be impressive. The use of Bethoven’s Symphony no. 9 “Ode to Joy” (or freedom) it’s a traditional classic song played every year in Japan's Years-End! Let’s look at the issues: the coincidences are indeed a lot, to the point where any credibility gets excluded. It’s a comedy movie but the plot turns very weak with this issue! I do love Tokyo Godfathers for the ironies and the exposure of social problems, and is very interesting to understand how the globalization and multicultural concept has is pros and cons and can affect a society to the point of losing his identity and traditions. Despite the main plot not being the greatest, that’s not a reason for you to put this title aside!
Oh look the breadboys back at it again with another banger. Dvdrip 5k rodzice chrzestni z tokio movie. Zjadłabym sazuke <3. Dvdrip 5k Rodzice chrzestni z. Dvdrip 5k rodzice chrzestni z tokio video. Dvdrip 5k rodzice chrzestni z tokio hd. Moim marzeniem jest zostanie dostawcą tofu. Dvdrip 5k rodzice chrzestni z tokio mp3. I legit cried toward the end of this. Breadsword I have loved everything you've made but this in particular hit home a lot never stop doing what your doing. Dvdrip 5k rodzice chrzestni z tokio youtube. Dvdrip 5k Rodzice chrzestni z tokiohotel.
Dvdrip 5k rodzice chrzestni z tokio lyrics. Dvdrip 5k Rodzice chrzestni z tokioh. Edit Release Dates USA 30 August 2003 (Big Apple Anime Fest) 2 October 2003 (San Diego Asian Film Festival) Japan 7 October 2003 (Shibuya) (premiere) 17 October 2003 (Shinjuku) (premiere) Spain November 2003 (Sitges) November 2003 (Tokyo International Film Festival) 8 November 2003 Germany 21 November 2003 (Cologne Cineasia Film Festival) 5 December 2003 (Los Angeles, California) 16 January 2004 (limited) Finland 29 February 2004 (Night Visions Film Festival) Denmark 2 April 2004 (NatFilm Festival) Hong Kong 12 April 2004 (Hong Kong International Film Festival) Canada 13 April 2004 (DVD premiere) 16 April 2004 (Nippon Connection Film Festival) Netherlands 17 April 2004 (Amsterdam Fantastic Film Festival) South Korea 26 April 2004 (Jeonju International Film Festival) Argentina 4 May 2004 (video premiere) 5 August 2004 (Seoul International Cartoon and Animation Festival) Taiwan 13 August 2004 Hungary 12 October 2004 (DVD premiere) Iceland 4 November 2004 (video premiere) France 6 November 2004 (Lyon Asiexpo Film Festival) Sweden 22 November 2004 (Stockholm International Film Festival) Norway 26 November 2004 (Oslo International Film Festival) 1 December 2004 (DVD premiere) Switzerland 16 December 2004 (German speaking region) Italy 4 February 2005 Australia 28 February 2005 (Adelaide Film Festival) Thailand 24 March 2005 (limited) Czech Republic 7 April 2005 (Febio Film Festival) Mexico 9 July 2005 (TV premiere) 20 October 2005 (Munich Asia Filmfest) 29 October 2005 (Frankfurt Asia Filmfest) 17 November 2005 Poland 1 December 2005 (DVD premiere) 13 December 2007 Venezuela 6 February 2008 (TV premiere) Estonia 4 April 2009 (Japanese Anime Festival) 1 February 2010 (Japanische Filmwoche Düsseldorf) 11 April 2016 (Japanese Animation Film Festival) 23 October 2016 (Japan Media Arts Festival) 11 December 2016 (Barcelona) (subtitled version) (technical release) 26 February 2017 (Kansas City Japanese Film Festival) Also Known As (AKA) (original title) Tôkyô goddofâzâzu Argentina (video title) Héroes al rescate Tokyo Godfathers Brazil (alternative title) Brazil Padrinhos de Tóquio Canada (English title) Estonia (festival title) Ükskord Tokyos Finland (TV title) Tokyo godfathers - löytölapsen arvoitus Greece (DVD title) Oi nonoi tou Tokyo Tokiói keresztapák Iran (Persian title) Pedarkhandehaye Tokyo Italy (alternative title) Tokyo Godfathers - I padrini di Tokyo Japan (English title) (literal English title) Japan (Japanese title) 東京ゴッドファーザーズ New Zealand (English title) Rodzice chrzestni z Tokio Portugal Romania Nasii din Tokyo Russia Однажды в Токио Serbia Jednom u Tokiju 東京教父 Ukraine Токійські хрещені UK (English title) World-wide (English title) Tokyo Godfathers.
Krzysiu, czy Ona Ci się podoba? 3. Dvdrip 5k Rodzice chrzestni z tokiohotel483. Ryba fubu. Man, your content is the best. I love how you analyze the many problems that Japan faces with an optimistic perspective. I like how you are humble enough to admit that you don't really know if there is meaning in life or that a god exists. No one really knows these things but at least we have love or as I like to call it, the Rainbow Connection.

I love you for this, this one of my favorite films. Dvdrip 5k rodzice chrzestni z tokio 1. Dvdrip 5k rodzice chrzestni z tokio sub.

Dvdrip 5k Rodzice chrzestni z toko bunga. Dvdrip 5k rodzice chrzestni z tokio live.

I was pretty much deceived by this movie; I was hoping that the director could use the animation media as well as in perfect blue or millennium actress where all the characters can switch from a real to an unreal world without any sign or clues. This wasn't the case at all.

This is a good movie, but not as stunning as we would expect from that director! Perfect blue left me a chocking impression that continues to flash in my head during months. Millennium actress was just a brilliant work full of beauty and touching story where time seemed to break every scene. I didn't find anything of this range in the last one. It's beautiful as it could be expected, it's a great story with a fun experience, but at the end, nothing is left to remember it! It was just too light for my huge expectations.

Dvdrip 5k rodzice chrzestni z tokio full. I SCREAMED WHEN THE NOTIFICATION TOLL ME ABOUT THIS, THANK YOU SO MUCH FOR YOUR HARD WORK. This looks promising. No właśnie. ja nie mogę przekonać się do tego sera w Polsce. Or youre like me, and dont really put any effort into your “avatar” and thus, have no friends.
I love your writing style. Dvdrip 5k rodzice chrzestni z tokio de. Dvdrip 5k rodzice chrzestni z tokio 2016. Strasznie siąkasz i strasznie mnie to dekoncentruje. If your goal is to make the viewer to feel with horrified vibe with no real horror graphics in this video, mission accomplished. Great Job. I love this movie : 3. I'd never thought that I'll find a man more disturbing than Hideaki Anno. We pour hours every day into grooming and preening this make believe instance of us. Making sure the perfect version of ourself is put forward for the world to see. What about the rest of us who just picked smug anime girls for shitposting. Możemy sobie spróbować tego-tu-oto-tofu :D No no, japoński już ładnie wychodzi :D.