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Eichengreen is right that governments need new strategies, but not just vis-à-vis China and the US. Barry Eichengreen, an eminent chronicler of the global economy, argues that the fnancial crisis and Covid-19 might have ended globalisation had major governments not changed tack, regulating fnancial services after 2009 and supporting their populations during the pandemic ("Is this how globalisation ends?" The 20th-century fascist states, and Germany in particular, took this message to extremes, so that every individual was expected to conform with whatever the state dictated and dissent was often brutally punished. Eichengreen argues that neither Trump nor Brexit succeeded in reversing globalisation. [Extracted from the article]

An interview with filmmaker Koreeda Hirokazu is presented. When asked about his film "Shoplifters," he refers to people as the most suitable judge to evaluate it as the best film. He also talks about the aspect of the film which created controversy. He also talks about the similarities and difference between the films "Shoplifters," and "Distance."

The article focuses on greatest Japanese films made after the World War II that highlights the everyday experiences of women in a conservative culture in a rapid social and technological change. It outlines some Japanese actresses which include Tanaka Kinuyo, Hara Setsuko, Takamine Hideko and Kyo Machiko who share their experiences in shaping the motion picture industry in Japan.

The article offers information on the "The Exterminating Angel" opera to be performed at Royal Opera House in London, England till May 18, 2017; and association of composer Thomas Adès for management of the opera.

The article discusses the life and work of the Japanese motion picture director Shindo Kaneto and his long-term collaborator, motion picture director Yoshimura Kozaburo. Several of Kaneto and Kozaburo's films are discussed including "Clothes of Deception," "The Island" and "Cape Ashizuri." Kaneto and Kozaburo's filming styles are also explored.

The article describes the technique and approach of filmmaker and screenwriter Mizoguchi Kenji. Kenji directed his first film in 1923 and had worked prolifically throughout the silent era. Most of his films deal with the cultural situation in Japan, including "Sansho Dayu" and "Ugetsu Monogatari." The author noted that Kenji's films, which focused on tragic stories of delusion, suffering and injustice, were well received in the west.

The article explores the role of the Art Theatre Guild film production company on the history of Japanese filmmaking. Films noted include "Death by Hanging" ("Koshikei") directed by Oshima Nagisa, "Double Suicide" ("Shinju ten no amijima") directed by Shinoda Masahiro, and "Pandemonium" ("Shura") directed by Matsumoto Toshio.

A reprint is presented of an interview with motion picture director Akira Kurosawa originally published in the publication's July, 1981 issue. Kurosawa says that he saw very few Japanese films in his childhood. He states that the award won by his film "Rashomon" at the 1951 Venice Film Festival was the turning point of his career. Kurosawa says his films have alternated between very serious and lighter themes spontaneously rather than through deliberate intent.

An obituary for Japanese actress Hara Setsuko is presented.

The article presents an obituary for the Japanese actress Yamada Isuzu.