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Page 1: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera
Page 2: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera
Page 3: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera
Page 4: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera
Page 5: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera
Page 6: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera
Page 7: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera
Page 8: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera
Page 9: USC Cinematic Arts | Home · 2011. 2. 8. · L.U. Marks Takeda's odyssey is motivated by a rejection of everything about Hara. The many scenes in which Takeda is subject to the camera