HARTLEY DIRECTORS, 4 EDItION reform school, was enacted by former inmates who improvised HARTLEY. Hal dialogue. For Hani, truth emerges from the juxtaposition of fiction and fact. He also believes that all people have an innate capacity for acting. Subsequent films, which deal with the effect of post-war urban Nationality: American Born: Lindenhurst, New York, 3 November realities on the lives of the young, include Children Hand in Hand and 69. Education: Attended Massachusetts College of Ar, late 1970s ferno of First Love. The former depicts young children in a pro State University of New York at Purchase Film School, graduated cial town and especially one backward child who becomes the butt with honors, 1984. Family: Married to actress Miho Nikaido ca- the other childrens malicious teasing and pranks; the latter is a story reer: Freelance production assistant, mid-1980s; worked for Action of two adolescents in modern Tokyo, each of whom has been (public ser exploited, who find with each other a short-lived refuge sored Hartleys first feature, The Unbelievable Truth, 1989; this Like his earlier documentaries, these films explore themes relatin film's success at the toronto film Festival led to its commercial to broken homes, the alienation of modern society, the traumatic release by Miramax, 1990. Awards: Deauville and Sao Palo Interna effects of childhood, the oppressiveness of a feudal value system, and tional Film Festivals, Audience Awards, for Trust, 1990: Tokyo the difficulty of escaping, eve en in an alternative social structure. To International Film Festival. Silver Award for Amateur. 1994: Cannes all these films Hani brings a deep psychological understanding of the Film Festival, Best Screenplay, for Henry Fool,1998.Address: c/o orkings of the human psyche. Finally, each of these films focuses on True Fiction Pictures, 12 w. 27th St, New York, NY 10001, U.S.A. individual growth and self-awakening, although Hani is clear indicate that the problems cannot be solved on a personal level. Both topics-growing self-awareness and a critique of the existing social Films as Director order-connect these works with Hani's second major theme, the emergence of women. nis first film on this subject was A Full Life, which deals with 1987 The Cartographer's Girlfriend(short)(+ed, pr) the efforts of a young wife, married to a self-involved older man, to 1988 Dogs(short)(+pr, co-sc forge a life of her own in the competitive world of modern Tokyo. 1990 The Unbelievable Truth(+sc, ed, pr) After demeaning work and involvement in the student demonstrations 1991 Trust(+ sc); Theory of Achievement(short, for TV)(+sc of the early 1960s, the wife returns home, a changed woman. mus); Surviving Desire(for TV)(+ SC, ed); Ambition(short, Hanis other films on this topic are She and He, the depiction of for TV)(+ sc) a middle-class marriage in which the wife gains independence by her kindness to a local ragpicker, and Bride of the Andes, the story of 1992 Simple Men(+ Sc, co-pr, mus) a mail-order Japanese bride in Peru who finds personal growth through her relationship with South American Indians. As in A Full Life, none of these women are able to make a full break with their usbands. However, through personal growth(usually affected by contact with a group or person marginal to society), they are able to challenge the patriarchal values of Japanese society as represented by their husbands and to return to the relationship with new understand ing and dignity. Both films starred Sachiko Hidari, who was then his wife Contact with a non-Japanese society and challenging Japanese kenophobia also occur in The Song of Bwana Toshi, which was filmed Kenya and deals with Toshi, an ordinary Japanese man living in Central Africa. Here he cooperates with natives and rises above his isolation to establish brotherhood with foreigners Hanis subsequent work, Timetable, combines his interest in contemporary youth with his continued interest in modern women. The story deals with two high school girls who decide to take a trip ogether. The fiction feature, which is narrated, was filmed in 8mm and each of the major actors was allowed to shoot part of the film Further, the audience is informed of who is shooting, thereby ac knowledging the filmmaker within the context of the work The use of 8mm is not new for hani. more than half of his fourth film originally shot in &mm. Likewise, the use of a narrator dates back to A Full Life. Throughout his career, Hani has concerned himself with people who have difficulty in communicating with one another. His documentaries, narratives on social problems, and dramas on emerg ing women have established his reputation as one of the foremost psychologists of the Japanese cinema. Patricia erens Hal HartleyHARTLEY DIRECTORS, 4th EDITION 420 reform school, was enacted by former inmates who improvised dialogue. For Hani, truth emerges from the juxtaposition of fiction and fact. He also believes that all people have an innate capacity for acting. Subsequent films, which deal with the effect of post-war urban realities on the lives of the young, include Children Hand in Hand and Inferno of First Love. The former depicts young children in a provin￾cial town and especially one backward child who becomes the butt of the other children’s malicious teasing and pranks; the latter is a story of two adolescents in modern Tokyo, each of whom has been exploited, who find with each other a short-lived refuge. Like his earlier documentaries, these films explore themes relating to broken homes, the alienation of modern society, the traumatic effects of childhood, the oppressiveness of a feudal value system, and the difficulty of escaping, even in an alternative social structure. To all these films Hani brings a deep psychological understanding of the workings of the human psyche. Finally, each of these films focuses on individual growth and self-awakening, although Hani is clear to indicate that the problems cannot be solved on a personal level. Both topics—growing self-awareness and a critique of the existing social order—connect these works with Hani’s second major theme, the emergence of women. Hani’s first film on this subject was A Full Life, which deals with the efforts of a young wife, married to a self-involved older man, to forge a life of her own in the competitive world of modern Tokyo. After demeaning work and involvement in the student demonstrations of the early 1960s, the wife returns home, a changed woman. Hani’s other films on this topic are She and He, the depiction of a middle-class marriage in which the wife gains independence by her kindness to a local ragpicker, and Bride of the Andes, the story of a mail-order Japanese bride in Peru who finds personal growth through her relationship with South American Indians. As in A Full Life, none of these women are able to make a full break with their husbands. However, through personal growth (usually affected by contact with a group or person marginal to society), they are able to challenge the patriarchal values of Japanese society as represented by their husbands and to return to the relationship with new understand￾ing and dignity. Both films starred Sachiko Hidari, who was then his wife. Contact with a non-Japanese society and challenging Japanese xenophobia also occur in The Song of Bwana Toshi, which was filmed in Kenya and deals with Toshi, an ordinary Japanese man living in Central Africa. Here he cooperates with natives and rises above his isolation to establish brotherhood with foreigners. Hani’s subsequent work, Timetable, combines his interest in contemporary youth with his continued interest in modern women. The story deals with two high school girls who decide to take a trip together. The fiction feature, which is narrated, was filmed in 8mm and each of the major actors was allowed to shoot part of the film. Further, the audience is informed of who is shooting, thereby ac￾knowledging the filmmaker within the context of the work. The use of 8mm is not new for Hani. More than half of his fourth film was originally shot in 8mm. Likewise, the use of a narrator dates back to A Full Life. Throughout his career, Hani has concerned himself with people who have difficulty in communicating with one another. His documentaries, narratives on social problems, and dramas on emerg￾ing women have established his reputation as one of the foremost psychologists of the Japanese cinema. —Patricia Erens HARTLEY, Hal Nationality: American. Born: Lindenhurst, New York, 3 November 1959. Education: Attended Massachusetts College of Art, late 1970s; State University of New York at Purchase Film School, graduated with honors, 1984. Family: Married to actress Miho Nikaido.Ca￾reer: Freelance production assistant, mid-1980s; worked for Action Productions (public service announcements), whose president spon￾sored Hartley’s first feature, The Unbelievable Truth, 1989; this film’s success at the Toronto Film Festival led to its commercial release by Miramax, 1990. Awards: Deauville and Sao Palo Interna￾tional Film Festivals, Audience Awards, for Trust, 1990; Tokyo International Film Festival, Silver Award, for Amateur, 1994; Cannes Film Festival, Best Screenplay, for Henry Fool, 1998. Address: c/o True Fiction Pictures, 12 W. 27th St., New York, NY 10001, U.S.A. Films as Director: 1984 Kid (short, student thesis film) (+ sc, ed, pr) 1987 The Cartographer’s Girlfriend (short) (+ ed, pr) 1988 Dogs (short) (+ pr, co-sc) 1990 The Unbelievable Truth (+ sc, ed, pr) 1991 Trust (+ sc); Theory of Achievement (short, for TV) (+ sc, mus); Surviving Desire (for TV) (+ sc, ed); Ambition (short, for TV) (+ sc) 1992 Simple Men (+ sc, co-pr, mus) Hal Hartley