#Keiko Horiuchi

[redsamuraiii]

This sort of deadpan humor is why I love jdramas. It's like watching a real life anime. 😂

Kamo Kyoto e Iku (Ep 8)

[ridiculousmaddancer]

Beauty and the Beast- Home (With Lyrics)~Multi-Language

[demifiendrsa]

City Hunter The Movie: Angel Dust - New PV

City Hunter The Movie: Angel Dust will hit theaters in Japan on September 8, 2023.

Poster

Cast

Akira Kamiya as Ryō Saeba

Kazue Ikura as Kaori Makimura

Hideyuki Tanaka as Hideyuki Makimura

Harumi Ichiryūsai as Saeko Nogami

Tesshō Genda as Umibōzu

Mami Koyama as Miki

Keiko Toda as Hitomi Kisugi

Chika Sakamoto as Ai Kisugi

Rica Fukami as Rui Kisugi

Tomokazu Seki as Pirarucu

Subaru Kimura as Espada

Miyuki Sawashiro as Angie

Kenyuu Horiuchi as Shin Kaibara

Staff

Chief Director: Kenji Kodama

Director: Kazuyoshi Takeuchi

Screenplay: Yasuyuki Mutō

Music: Taku Iwasaki

Original creator: Tsukasa Hojo

Character Design: Kumiko Takahashi, Seigo Kitazawa

Art: Junichi Taniguchi

Sound Director: Yukio Nagasaki

Cgi Director: Takuji Gotō

Director of Photography: Shinji Saitō

Color design: Shiho Kuriki

Editing: Daisuke Imai

Insert Song Performance: TM Network ("DEVOTION;" "Kimi no Sora o Mite Iru")

Theme Song Performance: TM Network (OP; ED)

Animation Production: Sunrise, The Answer Studio

[dear-indies]

Hiii! I hope that you're having a day. I won't say good because of all that happens in the world, it cannot be a good day for anyone who cares.

In the midst of all this, between staying informed and sharing what I know, I'm looking for a bit of a temporary solace through roleplay.

Could you please share with me your favorite short-haired Japanese women? Any age, but 30+ would be appreciated! Thanks a lot.

And if you can't, that is perfectly fine.

I hope your day goes on alright, and that everyone you meet masks up and cares as much as you do.

Yo Kimiko (1956) Japanese.

Suzuki Honami (1966) Japanese.

Harada Tomoyo (1967) Japanese.

Suzuki Kyoka (1968) Japanese.

Horiuchi Keiko (1971) Japanese.

Matsuyuki Yasuko (1972) Japanese.

Fukatsu Eri (1973) Japanese.

Yonekura Ryoko (1975) Japanese.

Nakatani Miki (1976) Japanese.

Hasegawa Kyōko (1978) Japanese.

Fukushima Rila (1980) Japanese.

Sato Nori (1984) Japanese.

Ueno Juri (1986) Japanese.

Watanabe Anne (1986) Japanese.

Sonoya Mizuno (1986) Japanese / English, Argentinian [likely including French].

Shinoda Mariko (1986) Japanese.

Nakamura Anne (1987) Japanese.

Kana Oya (1987) Japanese Brazilian / Brazilian.

Takahashi Ai (1986) Japanese.

Toda Erika (1988) Japanese.

Miyazawa Emma (1988) Japanese.

Miyagi Mai (1988) Japanese.

Omoto Ayano (1988) Japanese.

Fujii Mina (1988) Japanese.

Horan Chiaki (1988) Japanese.

Kiritani Mirei (1989) Japanese.

Tricia Fukuhara (1991) Japanese.

Kutsuna Shioli (1992) Japanese.

The fact you were so kind made me want to answer this straight away. I hope these are useful and that you're having a day too. 💌

[eirinstiva]

NABOWA | キラクに (kirakuni) feat. AAAMYYY

Actress | Yuriko Imai Director | Sotaro Ishii Producer | Keiko Iino Assistant Camera | Takumi Gunji Lighting Director | Nagisa Hanazono Lighting Chief | Rei Horiuchi, Syouta Sekimoto Stylist | Codan Hair & Make | Yuki Akagi Production | DRAWING AND MANUAL

Recorded by Keishiro Iwatani (Safe and Sound) at MORG STUDIO Except Vocal Recorded by Ayato Taniguchi at STUDIO SEEZE Mixed & Mastered by Keishiro Iwatani (Safe and Sound)

[christinealtomare]

horiuchi_keiko: アナスタシアの仲間。 大澄賢也さん。 東京公演、賢也さんとの楽日でした。 スマートなダンスで、リードしてくださいました❗ ヴラドはとても大変な役柄。 賢也さんは、軽快に物語をすすめていきます。 尊敬する先輩です🎵 コロナウィルスの影響で、マルちゃん(マルシア)のリリーが千秋楽を迎える事がかないませんでした😢 マルちゃんのことを思うと、辛いです。 大阪で素敵なリリーを爆発させてくれることでしょう❤️ アナスタシアの脚本を手掛けた、テレンス マクナリーさんが、コロナウィルスによる肺炎により、お亡くなりになりました。 心よりご冥福をお祈りします。 私は、明日千秋楽を迎えます。 みんなでがんばります。 #大澄賢也 #アナスタシア #anastasia #テレンスマクナリー #terrencemcnally

[nanasalt]

horiuchi_keiko: アナスタシアの仲間。 山中美奈さん。 ファントム マリーアントワネットなど、美しいソプラノをいかして、沢山のミュージカルに出演しております。 アナスタシアでも、１番高い所を歌ってくれております。 最初の場面の、アレクサンドラ・フョードロヴナ役のドレス姿は、素晴らしく。 マリア皇太后と、確執があることを思わせる演技を披露しております。 １度、美奈さんが居ないときに、私、代役をやらせていただいたのですが。。 演出補のカーリーンに、全然ダメだと、言われてしまいました😢 くそーーー、ひそかに狙ってたのにー！ 美奈ちゃんの、気品溢れる姿、お見逃しなく！#anastasia #アナスタシア #アレクサンドラフョードロヴナ

[moviesandmania]

OX-HEAD VILLAGE (2022) Preview of Japanese horror movie

OX-HEAD VILLAGE (2022) Preview of Japanese horror movie

Ox-Head Village is a 2022 Japanese supernatural horror film about three girls that go missing after a prank about a haunted building. Directed by Takashi Shimizu (Homunculus; Howling Village; Innocent Curse; The Shock Labyrinth 3D; The Grudge 2004 and sequel; Ju-on: The Grudge) from a screenplay co-written with Daisuke Hosaka. Produced by Muneyuki Kii, Harue Miyake, Chikako Nakabayashi and…

[vfterluna]

The Long Excuse (2016) directed by Miwa Nishikawa

[idleminds]

[anamon-book]

ちゃきちゃき　戸田恵子 学陽書房 装幀＝堀内肇（regia）

[batwhimpix]

An Interview with Bishounen Manga Pioneer Mizuno Hideko

Kaze to Ki no Uta creator and Year 24 artist Takemiya Keiko interviews early shoujo manga pioneer Mizuno Hideko.

The Bishounen as the Ultimate Embodiment of Young Women’s Yearning

Music manga Fire! was the first manga serialized in a women’s magazine to center on a male protagonist. I sat down with the creator of that work, Mizuno Hideko-sensei, to chat about the circumstances around its serialization and the state of shoujo manga in 1969 when the series began its run.

The Routes of the Beautiful, Perverse Male Figure Lie in the Mad King?!

---First, Mizuno-sensei, can you talk a little bit about what exactly led you to create stories about bishounen?

Mizuno: The image of the long-haired, beautiful young man has existed as a motif since the statues of ancient Greece. Since I was very young, I felt this, sort of, longing? I guess. Toward this kind of beautiful young man you just didn’t see in Japan. My experience with bishounen was limited to what I happened to come across, but the examples I did see were really beautiful to me. I felt from when I was young that I wanted to create a story about this kind of man.

---Around when would you say the seeds of that longing were planted in you?

Mizuno: The first time I came across this aesthetic was probably when I was in middle school. At that time picture encyclopedias and photobooks from overseas weren’t really a thing, but if I stuck my nose in the right places I could generally find what I was looking for. (laughs) While I was caught up in that kind of research, I happened across an article about Ludwig [TN: Ludwig II of Bavaria] in a make-up pamphlet.

---That “They called him the Mad King…” thing from Shiseido’s Hanatsubaki, right?

Mizuno: Yes, that’s right. It was really small, but it was in this column where they would introduce beautiful things…Dangerously beautiful, with an inclination toward the perverse. Shunning the day, embracing the night, a lover of roses and swans and the moon… (laughs)

---Wow, the height of romanticism.

Mizuno: Isn’t it, though? I’ve loved music since I was a kid, and I used to listen to Horiuchi Keizou’s radio program, The Fountain of Music [Ongaku no Izumi], all the time. It was listening to that program where I first learned that Wagner had composed a four-part epic music drama called Der Ring des Nibelungen, the one that includes Götterdämmerung. Following that, I eventually also learned that Ludwig had been a huge fan and devoted patron of Wagner. So I’ve had an interest in those two figures for a long time. When I was asked if I would be interested in drawing a manga about them, it was like all these different threads had come together.

---Ohh, so that’s how “Ludwig II” was born. When I think of Ludwig, I picture how he always had a gaggle of beautiful men displayed around him. In the first volume of the manga, you explored the forbidden master-servant romance between him and his servant Paul, right?

Mizuno: That was a very fleeting thing, a friendship that grew too intimate. Even after Ludwig became an adult, there are accounts that say he would keep his favorite stable boys close by his side. He would also throw elaborate banquets for his favorite boys on the small island within his garden pond where he grew tens of thousands of roses. As that suggests, he had a tendency to focus only on satisfying his own perverse interests, to the exclusion of all else. I wanted to explore why he became that way, but unfortunately the magazine the series ran in went under. I guess to sum up what I’m trying to say, I think my personal image of this kind of beautiful, perverse male figure came largely from Ludwig II. There are a ton of stories about young and beautiful kings from that part of the world, but he was the real deal.

Out with the Old Order, In with the New

---I’d like to ask you a little bit about Fire! It was pretty unheard of at that time for a shoujo manga to have a male protagonist, wasn’t it? You could even call it unthinkable.

Mizuno: I would agree with that. But at the same time, there was a whole world you couldn’t portray if the character wasn’t a man. From the start, I was always more into things like westerns and Tarzan than more traditionally “girly” things. But because I got snapped up by a girls’ magazine like Shoujo Club, begrudgingly I had no choice but to draw girls. (laughs) When we started getting into the 1960s, the rock music era had started, and the powerful messages of the youth were starting to make waves. It was this attitude that the current system needs to change, combined with this idea that we should return to nature, that it’s okay to embrace your nude body, that it’s okay to be “naked” [TN: Mizuno uses the English word here], basically what you would call Hippie culture. On top of that, aspects of Eastern culture were making their way across the ocean, and white people’s ways of thinking were rapidly beginning to change. I think it was an era worthy of commemorating. A lot of it goes back to the Beatles, though.

---The Beatles’ debut record came out in 1962, right?

Mizuno: There were others like Presley before them, but they were among the first to use rock music in order to convey a deeper message. With the broadening awareness of what rock music could be, something radical and complex called progressive rock was also born. I was in my late twenties at that time, but that sound really resonated with me. And among the bandmates, there were a lot of really hot young men. Up until that point it was typical for men even outside of Japan to have their hair cut really short, but with the rock revolution the number of long-haired men increased tenfold. Long hair carried with it the meaning of keeping things as close to nature as possible, as well as expressing the necessity of breaking down the artificial barriers put in place by past generations. As for me, long-haired guys were always my type, so I was just like, “Ooh, this is pretty nice.” (laughs)

A Shoujo Manga First!

A Tale of Youth with a Young Man in the Lead

---And then Fire! started its serialization in 1969.

Mizuno: Yes. I wanted to write a story about a pure-hearted and forward-facing young man. Under any other circumstances, I don’t think a shoujo manga editor would have given that an okay. But at that time in Japan, Group Sounds groups like the Tempters and the Tigers were in their heyday, so I just said, “I’ll draw a story about Group Sounds.” (laughs)

---Wait, you tricked them? (laughs)

Mizuno: Ehehehe. And then they gave me a simple, “Sure, okay.” For the first 5 or 6 chapters until Aaron gets out of the reformatory, I think readers were unsure what kind of story I was trying to tell. Before that I had been used to getting 20-30 fan letters a day, but they stopped coming all at once. If you look at them now, the drawings are very simplistic, but if you compared it to other shoujo manga at the time, stylistically it was a complete 180. I heard that readers thought they were looking at a gekiga manga.

---That must have thrown a lot of readers off. I mean, the story is really deep. If it was made now, I’m sure the tankobon release would be over ten volumes.

Mizuno: We didn’t get many pages back then. There was no way we would have been allowed to keep a story going for ten or twenty or thirty volumes. I mean, I only got 2 volumes to finish a story about the Russian Revolution in White Troika [Shiroi Troika], you know?

---What were reader reactions like after you got past those first five or six chapters?

Mizuno: Absolutely tremendous. Fan letters came flooding in. The number of male fans increased dramatically as well.

---Around where in the story did this change occur?

Mizuno: It was around the point where Aaron leaves the reformatory and starts meeting a lot of new companions.

---Did you get any fan letters addressed to the bands or characters in the story?

Mizuno: I didn’t really see that mix-up, no. It was all with the firm understanding that the story was just that, a story. These days we live in an anything-goes kind of world. Like you could see someone walking around town in full cosplay and no one would even bat an eye, right? People these days are getting too attached to fictional worlds.

---It sounds like your fans had a high level of maturity. I was just wondering if you also had the squealing fangirls.

Mizuno: In my mind, Fire! was never a bishounen work, but a story about a pure-hearted youth who wants to go out there and change things, and realizes that to make a real change, there’s no other option but to bring the whole system down. The message of “nakedness” is also present within the work, but it’s not pornography. Speaking of which, right around when Fire! started, the number of bed scenes and nudes in shoujo manga totally exploded, didn’t it? It’s like I unleashed something. (laughs)

---Oh, yeah, I remember that.

Mizuno: Right? It didn’t matter if you were reading a children’s magazine or a magazine aimed at adults, there was this rush of titles everywhere where it seemed like the quality didn’t matter at all, what mattered was that you had bed scenes.

---If something sells, you’re bound to get copycats, after all.

Mizuno: Well, the trend faded after a few years. But I guess it’s unavoidable that things will trend toward whatever gets readers.

---Were there any scenes you wanted to include that your editor wanted to reject outright?

Mizuno: There were. I kept getting told there was too much male nudity. For example, this was fixed in the tankobon release, but there was a drawing of Fire Wolf standing in a doorway nude where I’d drawn down to his navel, and I was told to erase his belly button. I changed it back later, though. (laughs)

---What’s considered taboo really changes depending on the era. It’s fascinating.

The Desires of Young Women Gave Birth to the Bishounen

---Fire!’s last chapter had a big impact on me. “When you throw yourself too much into your attempts at self-expression, this is how it turns out…” That kind of thing.

Mizuno: I was often asked whether Aaron died just after the end of the manga, but I felt like it needed to be an ending more painful [for the reader] than death.

---Why did you think that?

Mizuno: If he dies, then that’s it. The story ends right there. When I write a final chapter, I always want to write something that makes the reader think, “I wonder what became of that person after that.”

---I see. It wasn’t too long after that that the word BL first appeared. And now, if you go to a manga bookstore, you’ll find the shelf for seinen magazines, the shelf for shounen magazines, the shelf for shoujo manga, and the shelf for BL. That’s how large the market for BL has become. What do you think about that change, Mizuno-sensei?

Mizuno: Well, for starters, I had no idea that manga as a medium would become so widely accepted. Up until around when I started working on White Troika, it wasn’t even a thing yet for serialized manga to get a later tankobon release. I don’t think that became commonplace until the ‘70s, when the Year 24 Group came onto the scene and shoujo manga entered the era people now call its golden age. It feels so entirely outside my own experience that I kind of feel like a third party observer. You could say that manga has become a full member of everyday society. The kids who grew up loving manga maintained that love even after they became adults, some of them even going on to create manga themselves. There are a lot less people who think of manga as just a bad influence.

---The ‘70s also saw a boom in the number of seinen magazines, right?

Mizuno: That’s right. So it really feels like we laid the foundation for all of that. Not that I’ve ever gotten anything for it. (laughs) Oh, we were talking about bishounen manga, right?

---Thank you, yes we were. (laughs)

Mizuno: I think it’s something like a yearning that exists in the depths of every woman’s heart. That which we call the bishounen isn’t something that exists in reality, but rather entirely an ideal dreamt up by women. And in that, it possesses an otherworldly beauty totally divorced from the dirt and grime of the real world.

---Women tend to look for strength and kindness in men, so I wonder why despite that we yearn for beauty, too?

Mizuno: Women have a latent appreciation for pretty things. And for the most part, they’re interested in the opposite sex. So it follows that a member of the opposite sex who is also beautiful is even better, right? (laughs) Therein lies the appeal of the bishounen, the physical embodiment of women’s desires. That’s what I think.

**Taken from 大人の少女マンガ手帖 偏愛! 美少年の世界 (TJMOOK) (Otona no Shoujo Manga Hen'ai! Bishounen no Sekai), originally published in 2016. Translated October 2021 by me. PLEASE DO NOT REPOST.

[anastasiamusicalfan]

Hikaru Asami, Marcia & Keiko Horiuchi as Lily.

Rei Asami as Dowager Empress Maria.

Pictures from the souvenir brochures.

[aqua-tan]

Dying Eye

Network: WOWOW

Runtime: March 16 - April 20, 2019 (6 episodes)

Plot: Shinsuke (Haruma Miura) works as a bartender. One night, he is attacked by a stranger. Shinsuke loses some of his memory. He doesn't remember that a year and half ago, he was involved in a car accident which led to the death of Minae (Maryjun Takahashi). Shinsuke learns that his attacker Reiji was the husband of the woman killed in the car accident. Reiji killed himself after attacking Shinsuke. One raining evening, a mysterious woman Ruriko (Maryjun Takahashi), wearing mourning clothes, appears in front of Shinsuke.

Cast:

Haruma Miura - Shinsuke Amemura

Maryjun Takahashi - Minae Kishinaka / Ruriko

Marika Matsumoto - Narumi Murakami

Hayato Kakizawa - Reiji Kishinaka

Hayato Onozuka - Yoshiyuki Okabe

Yasushi Fuchikami - Haruhiko Kiuchi

Yuichi Kimura - Yohei Kozuka

Keiko Horiuchi - Chizuko Ono

Katsuhisa Namase - Koichi Eshima

Notes:

Based on novel "Dying Eye" by Keigo Higashino.

[christinealtomare]

horiuchi_keiko: アナスタシアの仲間。 井上花菜さん。 ライオンキングのヤングナラ役。 映画やドラマCMでも活躍。 小さい頃から活躍しながら、青山学院大学在学中でもあります！ お勉強もちゃんとしてるのですね🎵 アナスタシアでは、ヤングアナスタシアをしております。 物語のキーになる、オルゴールを取って、暗転になるところは、とても美しいシーンです❗ 昨日は、無事に全員初日を迎えて、不安な中、耐えてパフォーマンスを維持していた二人のディミトリが舞台にたてました。 感動的でした。 アナスタシアの美しく、たくましく生き、自分探しの旅。 カンパニーの１人になれることありがたく思います。 #anastasia #井上花菜 #ヤングアナスタシア

.

horiuchi_keiko: A member of Anastasia. Hana Inoue.

The singing voice of Simba of the Lion King. Also active in movies and drama commercials. She has been active since she was a child and is still a student at Aoyama Gakuin University!

She studies well.

In Anastasia, she is Young Anastasia. The key to the story, taking the music box and before it gets dark, it is a very beautiful scene.

Yesterday, everyone reached the first day safely, and the two Dimitris who had endured and maintained their performances in the midst of the unrest were set on stage. It was impressive.

Anastasia's beautiful, lively, and soul-searching journey.

I am grateful to be a member of the company.

#anastasia #InoueHana #YoungAnastasia

[nanasalt]

horiuchi_keiko: アナスタシアの仲間。 渡久地真里子さん。 アメリカのバレエ学校に留学して、海外で活躍しておりました❗ バレエシーンでは、見事なオデットを披露しております。 お稽古場から本番まで、最後のフェッテ (くるくる回るところ)がぶれることはなく。 振付家のペギーは大変満足そうでした❗ 私は、バレエシーンは、普通にお客さんとして見ちゃってます🍀 彼女は、ミュージカル初出演！ 色々なミュージカルに出演してほしいですね❤️ #anastasia #アナスタシア #渡久地真里子 #オデット