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"A Cinematographic Analysis of Koe no Katachi". Fun Things Are Fun. Penn State University. Archived from the original on January 21, 2019. Retrieved February 24, 2021. cite web: CS1 maint: numeric names: authors list (link) ^ a b Bartels, Felix (March 13, 2018). "Wiedergutwerdung". Neues Deutschland (in German). Archived from the original on June 13, 2018. Retrieved February 24, 2021. ^ Medina, Nathalie (November 4, 2017).

He is the son of the president of a local construction company, Teshigawara Construction. He is a lover of the monthly occult magazine MU (ja) and a mechanical geek. He has a 50-50 love/hate relationship with his hometown,[d] Itomori, and from his own perspective, he initiates concrete measures to improve the town's situation,[e] which earns him the sympathy of Taki (physically, Mitsuha). In the epilogue, he talks about his upcoming marriage to Sayaka. Teshigawara is named after Shoko Aizawa's middle school friend, Teshigawara, who appears in the seventh episode of Shinkai's novel The Garden of Words. [9][10] Sayaka Natori (名取 早耶香, Natori Sayaka) Voiced by: Aoi Yūki[7] (Japanese); Cassandra Morris[8] (English) One of Mitsuha's classmates and her best friend; as of 2013, she is 17 years old.

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Dropping honorifics in Japanese is only reserved for the deepest relationships: we’re talking romantic partners and very close friends. I can also tell you from personal experience it’s a source of intense social anxiety for me. San San is essentially the default honorific, and it’s the most common. The closest word in English would be “Mr. /Ms. /Mrs. ,” etc. , except that san is gender-neutral and used in a much, much broader series of social contexts. San is for almost everyone. You can use it with bosses or a friend’s moms, but it doesn’t have to refer to someone older or higher in status, either. Co-workers can also be san. Le réalisateur dit s'être inspiré de Paulette, la petite fille du film Jeux interdits interprétée par Brigitte Fossey, pour la gestuelle de la petite fille (Setsuko)[7]. L'un des points les plus importants dans cette œuvre est le réalisme. Bien que dessinés, les décors sont crédibles. Comme le dit Bernard Génin dans l’article de Télérama du 19 juin 1996 : « Dès le début, la reconstitution d’un bombardement sur Kobe, dans des décors d’une précision hallucinante, installe un réalisme quasi documentaire. » Akiyuki Nosaka confirme cela dans une interview incluse dans le coffret DVD Collector du film, distribué par Kaze. Nosaka a vécu cet enfer étant jeune, et il explique dans cette interview que voir ce film lui a fait reconnaître chaque maison, chaque coin de rue, et le replongeait dans son enfance, car le quartier représenté dans l’œuvre de Takahata est celui où il a vécu étant petit.
All kind of ogres, dragons, and demons start entering modern day Japan, making you think that it’s going to go post-apocalyptic really quickly. But then you remember that guns are very much a thing, and are really good at taking out anything that moves. So the two sides clash. But since neither side can make a decisive victory a ceasefire must be made. And that’s easier said than done. 38.