Japanese

In 1941 the Japanese are at odds with the United States on a number of issues which they are attempting to resolve via their Washington embassy. In case this diplomacy fails, the military are hatching plans for a surprise early Sunday morning air attack on the U.S. base at Pearl Harbour. American intelligence is breaking the Japanese diplomatic messages but few high-ups are prepared to believe that an attack is likely, let alone where or how it might come.

In 1941 the Japanese are at odds with the United States on a number of issues which they are attempting to resolve via their Washington embassy. In case this diplomacy fails, the military are hatching plans for a surprise early Sunday morning air attack on the U.S. base at Pearl Harbour. American intelligence is breaking the Japanese diplomatic messages but few high-ups are prepared to believe that an attack is likely, let alone where or how it might come.

Mr. Tako, the chairman of a pharmaceutical company, learns of roma tomato-sized berries that grow on Farou Island, are a miracle cure, and that the natives worship a god called Kingkong who has allegedly grown to giant size from eating the berries. What better way to promote the product, Tako figures, than to bring the creature back to Japan? So he leads an expedition with Sakurai and Furue to get the berries and the monster. Meanwhile, some American pilots discover the chunk of the glacier Godzilla was sealed in back in 1955. Sakurai's sister's boyfriend Kazuo is busy trying to sell an invisible but superstrong wire, which of course no one wants until Kong escapes…

We travel on trains through Shimane Prefecture, a spiritual part of Japan where Japanese gods and humans have a strong bond. We ride a pink train to Izumo Taisha, a shrine where all the gods come to assemble. We start our journey asking the gods to help us connect with others. Afterwards, a wide-open trolley takes us through a mountain range home to the mythical snake beast Orochi. Using a technique called "switchback", the trolley climbs up the mountain for a breathtaking view. We then get on a train designed with kagura, a traditional form of Japanese entertainment.

Shofuso Japanese House and Garden in Philadelphia's Fairmount Park is the physical embodiment of the long-time friendship between Japan and the people of Philadelphia. This compelling and informative documentary explores the traditional-style Japanese house and nationally ranked garden, including areas not open to the general public. Frank Chance, professor of East Asian Studies at the University of Pennsylvania, and Kim Andrews, Shofuso Executive Director, explain Shofuso's features, history, and how it reflects the culture and philosophy of Japan. Tea practitioner Morgan Beard guides us through a traditional Japanese Tea Ceremony.

We travel on trains through Shimane Prefecture, a spiritual part of Japan where Japanese gods and humans have a strong bond. We ride a pink train to Izumo Taisha, a shrine where all the gods come to assemble. We start our journey asking the gods to help us connect with others. Afterwards, a wide-open trolley takes us through a mountain range home to the mythical snake beast Orochi. Using a technique called "switchback", the trolley climbs up the mountain for a breathtaking view.

Looks at the life of American scholar Donald Keene, a pioneer in the research and translation of Japanese literature who laid the groundwork for putting Japan's prose and poetry on the world map. Hosted by actor Ken Watanabe, this program looks at Keene's appreciation of Japan and its traditional values, his first contact with the people of Japan during World War II, his relationships with great Japanese writers and his perception of the Japanese mindset.

Japanese food is refined and elegant, its preparation and presentation honed over the centuries so its flavours are pure and delicate. Like many of the most highly developed cuisines on earth, Japanese food celebrates and highlights the flavours, textures and colours of seasonal produce. The first produce of the season is prized.

After a six-year hiatus, Quentin Tarantino returns to the director's chair with KILL BILL. The movie proves once again that he is a hyperactive visionary and the master of cinematic coolness. Split into two volumes by Miramax in order to ensure that Tarantino's vision would not be compromised (and presumably to sell more tickets), KILL BILL: VOL. 1 tells the first half of the sprawling story, which is quite simple at first glance. A female assassin, referred to as "The Bride" (Uma Thurman), is attacked on her wedding day. Dead are her soon-to-be husband and unborn child. However, she doesn't die. Four years later, she wakes up from a coma looking for revenge. Although her ultimate target is her former boss, Bill (David Carradine), it's quite clear that The Bride is saving the best for last. And before she can track him down, she must methodically take out the minions who ruined her life. VOLUME 1's targets include Vernita Green/Copperhead (Vivica A. Fox), Sofie Fatale (Julie Dreyfus), and the heartless O-Ren Ishii/Cottonmouth (Lucy Liu). Using a blessed sword handmade by Hattori Hanzo (Sonny Chiba), The Bride begins her relentless assault. Turning up the style and energy levels that he kept under a threshold with 1997's JACKIE BROWN, Tarantino's obvious glee and reverence for the underground kung fu action pictures of the '70s, and Sergio Leone spaghetti westerns, makes for a stunning visual spectacle. Employing split screens, slow-motion, an anime sequence, and his trademark ultra-hip musical selections, Tarantino's film dares viewers to be unimpressed.