Gō Takamine

Gō Takamine (高嶺 剛, Takamine Gō, born 12 November 1948 in Ishigaki, Okinawa Prefecture) (sometimes credited as Tsuyoshi Takamine[1]) is a Japanese director of fiction films, documentaries and experimental films. Born on Ishigaki Island and raised in Naha, Takamine went to university in Kyoto and there began making 8mm films.[2] He made his feature film debut with Paradise View (1985) and won a number of awards for Untamagiru (1989), including the Caligari Film Award at the Berlin Film Festival, the best feature film award at the Hawaii International Film Festival, the Golden Montgolfiere at the Three Continents Festival, and the Hochi Film Award. That film also earned him the Directors Guild of Japan New Directors Award.[3] Other works include the feature-length video Tsuru-Henry (1998)[2] and documentaries on Okinawan performers such as Rinshō Kadekaru. His films have centered on the politics of Okinawan history and cultural identity, particularly by using the Okinawan language, music and folk legends.[4][5]

Selected filmography
  • Okinawan Dream Show (オキナワン　ドリーム　ショー, 1974)
  • Okinawan Chirudai (オキナワン　チルダイ, 1978)
  • Paradise View (パラダイスビュー, 1985)
  • Untamagiru (ウンタマギルー, 1989)
  • Tsuru-Henry (夢幻琉球・つるヘンリー, 1998)
  • Hengyoro (変魚路, 2016)

References
  1. "Festival des 3 Continents: Tsuyoshi Takamine". www.3continents.com. Retrieved 22 April 2018.
  2. Takamine, Go; Isao Nakazato (10 October 2003). "Documentarists of Japan #20: Takamine Go". Documentary Box. Retrieved 26 December 2009.
  3. "Nihon Eiga Kantoku Kyōkai Shinjinshō" (in Japanese). Directors Guild of Japan. Archived from the original on 22 November 2010. Retrieved 11 December 2010.
  4. Gerow, Aaron (2003). "From the National Gaze to Multiple Gazes: Representations of Okinawa in Recent Japanese Cinema," Islands of Discontent: Okinawan Responses to Japanese and American Power. Eds. Laura Hein and Mark Selden. Rowman and Littlefield. Pp. 273-307. ISBN 978-0-7425-1866-7
  5. Ko, Mika (March 2006). "Takamine Go: a possible Okinawan cinema". Inter-Asia Cultural Studies. 7 (1): 156–170. doi:10.1080/14649370500463844.
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