Assignments!!!

VALUES: Mga sasagutan sa movie "Departures"

RESEARCH: 1. What is an introduction? 2. How is it written? 3. What must the ff. contain: a. Significance of the study b. Scope and Limitation c. Definition of Terms d. conceptual framework (kng eto nga yun. di ko masyadong narinig ehh.pkitama nlang) 4. Differentiate review of literature/ review of studies Math: Answer ALL! Properties of Congruency TLE: (1/2 crosswise) Answer the ff: 1. What is caption and border in HTML table? 2. How to put caption and border in HTML tables?

Jhoanna Rein S. Duzon III- Mendeleev

Death is for the living and not for the dead so much. That observation from the mourner of a dead dog in Errol Morris' "Gates of Heaven" strikes me as simple but profound. It is the insight inspiring "Departures," the lovely Japanese movie that won this year's Oscar for best foreign film. The story involves a young man who apprentices to the trade of "encoffinment," the preparation of corpses before their cremation. As nearly as I can recall, there is no discussion of an afterlife. It is all about the living. There is an elaborate, tender ceremony carried out before the family and friends of the deceased, with an elegance and care that is rather fascinating. The hero is a man who feels he is owed a death. The father of Daigo (Masahiro Motoki) walked out on his mother when the boy was 6 years old, and ever since Daigo has hated him for that abandonment. Now about 30, Daigo is a cellist in a small classical orchestra that goes broke. He and Mika (Ryoko Hirosue), his wife, decide to move back to a town in the north of Japan and live in his childhood home, willed to him by his recently departed mother. He finds no work. He answers a want ad for "departures," which he thinks perhaps is from a travel agency. The company serves clients making their final trip. Daigo is shocked to discover what the owner (Tsutomu Yamazaki) does; he cleans and prepares bodies and painstakingly makes them up to look their best. The ritual involves undressing them in behind artfully manipulated shrouds in front of the witnesses. The owner is a quiet, kind man, who talks little but exudes genuine respect for the dead. Daigo doesn't tell his wife what he does. They need the money. His job is so low caste that an old friend learns of it and snubs him. The clients are generally grateful; one father

confesses cheerfully that the process freed him to accept the true nature of his child. A lot is said about the casting process for a movie. Director Yojiro Takita and his casting director, Takefumi Yoshikawa, have surpassed themselves. In a film with four principal roles, they've found actors whose faces, so very human, embody what "Departures" wants to say about them. The earnest, insecure young man. His wife who loves him but is repulsed by the notion of him working with the dead. The boss, oracular, wise, kind. His office manager, inspirational but with an inner sadness. All of these faces are beautiful in a realistic human way. The enterprise of undertaking is deadly serious, but has always inspired a certain humor, perhaps to mask our fears. The film is sometimes humorous, but not in a way to break the mood. The plot involves some developments we can see coming, but they seem natural, inevitable. The music is lush and sentimental in a subdued way, the cinematography is perfectly framed and evocative, and the movie is uncommonly absorbing. There is a scene of discovery toward the end with tremendous emotional impact. You can't say it wasn't prepared for, but it comes as a devastating surprise, a poetic resolution. Some of the visual choices are striking. Observe the way Takita handles it when the couple is given an octopus for their dinner and are surprised to find it still alive. See how vividly Daigo recalls a time on the beach with his dad when he was 5 or 6, but how in his memory his father's face is a blur. And how certain compositions suggest that we are all in waiting to be encoffined. In this film, Kore-eda's "After Life" and of course Kurosawa's great "Ikiru," the Japanese reveal a deep and unsensational acceptance of death. It is not a time for weeping and the gnashing of teeth. It is an observation that a life has been left for the contemplation of the survivors.

Director Yojiro Takita and writer Kundo Koyama examine the rituals surrounding death in Japan with this tale of an out-of-work cellist who accepts a job as a "Nokanashi" or "encoffineer" (the Japanese equivalent of an undertaker) in order to provide for himself and his young wife. Daigo Kobayashi (Masahiro Motoki) is a talented musician, but when his orchestra is abruptly disbanded, he suddenly finds himself without a source of steady income. Making the decision to move back to his small hometown, Daigo answers a classified ad for a company called "Departures," mistakenly assuming that he will be working for a travel agency. Upon discovering that he will actually be preparing the bodies of the recently deceased for their trip to the afterlife, Daigo accepts the position as gatekeeper between life and death and gradually gains a greater appreciation for life. But while Daigo's wife and friends universally despise his new line of work, he takes a great amount of pride in the fact that he is helping to ensure that the dead receive a proper send-off from this state of being. ~ Jason Buchanan, Rovi Departures ( Okuribito?) i s a 2008 Japanese drama film by Yjir Takita. It won the Academy Award for Best Foreign

Language Film at the 81st Oscars in 2009 and the Japan Academy Prize for Picture of the Year at the 32nd Japan Academy Prize. The films concerns the historic Japanese "encoffining" ceremony (called a nkan) in which professional morticians ( nkan sha?) ritually dress and prepare bodies before they are placed in coffins. Although the film follows contemporary themes, the practice is now rarely performed; limited mainly to rural areas where older traditions are maintained. Plot Daigo Kobayashi, a cellist in Tokyo, loses his job when his orchestra is disbanded. He decides to move back to his hometown, Sakata, Yamagata, with his wife Mika. Daigo's family used to run a small coffee shop. His father ran away with the waitress when Daigo was very young, and his mother raised him by herself. His mother died two years ago, and left him the house where he grew up. Daigo feels guilty about not having taken better care of his mother. Back home, Daigo finds an advertisement in the newspaper for "assisting departures". He goes to the interview, uncertain of the job's nature. He is hired on the spot after only one question ("Will you work hard?") and being handed an "advance" by his new boss Sasaki. He discovers that the job involves preparing the dead. Daigo reluctantly accepts. He returns to his

wife with sukiyaki for a celebration, but he tells her he will be performing some sort of ceremony. On his first day, he is made to act as a corpse in a DVD explaining the procedure. His first assignment is to clean, dress and apply cosmetics to the body of an aged woman who has died alone at home, remaining undiscovered for two weeks. He is beset with nausea, and humiliated when strangers on the bus detect an unsavory scent. He goes to an old public bath that he often went to during his childhood to wash off. The bath is run by Tsuyako Yamashita, whose son was an old classmate of Daigo. Daigo completes a number of assignments and experiences the gratitude of those left behind, gaining a sense of fulfillment. But Mika finds the DVD and begs him to give up such a "disgusting profession." Daigo refuses to quit, so she leaves. Even Yamashita, his old classmate, tells him to get "a proper job." After a few months, Mika returns, announcing that she is pregnant. She seems to assume that he will get a different job. While Daigo and Mika try to work things out, the telephone rings with the news that Tsuyako, Yamashita's mother, has died. In front of Yamashita, his family and Mika, Daigo prepares her body. The ritual earns the respect of all present. During cremation, Tsuyako's friend appears as the cremator. He

thinks that death is not the "end" but the "gate to a next stage". Afterwards, Daigo goes to the river and finds a small stone to give to Mika. He tells her about "stoneletters", a story told to him by his father "A long time ago, before words were invented, people would give each other stones to express how they were feeling at that point. A smooth stone might mean that you are happy, while a rough one might mean you are worried about them." Many years ago, Daigo had stood on these same riverbanks with his father and exchanged stone-letters. Daigo's father had promised to send him one every year, though he never did. They are informed of the elder Kobayashi's death. Daigo refuses to see him, but his coworker convinces him to go, confessing that she herself abandoned her son in Hokkaido when he was only six. Sasaki invites him to take one of the display coffins. Daigo and Mika go to see the body of his father, but Daigo finds that he cannot recognize him. As the funeral workers carelessly handle the body, he angrily stops them, and his wife explains that her husband prepares the dead for burial as a living, thereby tacitly admitting that she has come to accept his work. Daigo takes over the dressing of his father's body, Daigo finds the stone-letter he had given to his father when he was little, in his father's hands. He is at last able to recognize his father from his childhood

memory. As he finishes the ceremony, Daigo gently presses the stone-letter to Mika's pregnant belly. Cast Masahiro Motoki as Daigo Kobayashi Ryko Hirosue as Mika Kobayashi Tsutomu Yamazaki as Shei Sasaki, president of NK Agency Kimiko Yo as Yuriko Uemura, an employee of NK Agency Kazuko Yoshiyuki as Tsuyako Yamashita, a woman running a sent Takashi Sasano as Shkichi Hirata, a regular customer of Tsuyako's sent Tetta Sugimoto as Yamashita, a son of Tsuyako, Daigo's old classmate Toru Minegishi as Toshiki Kobayashi, Daigo's father Tar Ishida as Mr. Sonezaki, the owner of Daigo's orchestra

The opening scenes of "Departures" (2009) give no hint of what direction the film will take. It begins as a narrative about a couple in financial crisis. We have no way of knowing, and indeed neither do they, that this is the beginning of a journey of profound growth and discovery, brought about through the instrument of death. I showed Yojiro Takita's film at Ebertfest 2010, and it had as great an impact as any film in the festival's history. At the end the audience rose as one person. Many standing ovations are perfunctory. This one was long, loud and passionate. That alone doesn't have anything to do with making a film great, and 2011 may seem too soon to include a 2009 film in this collection of Great Movies. I'm including it because having seen in three times I am convinced that "Departures" will hold its power and appeal. The Japanese cinema reserves a special place for death. In films like Kurosawa's "Ikiru," Ozu's "Tokyo Story," Itami's "Ososhiki" ("The Funeral") and Kore Eda's "Maborosi" and "After Life," it is handled in terms of ongoing life. There is mourning, but not hopeless grief. The mourning is channeled into ritual which provides comfort. There is no great focus on an afterlife. Attention centers on the survivors and on the meaning of the life that has just ended. Watching "Departures" again most recently, I

It is a bad time for the young couple. He plays the cello in a small provincial orchestra. Their audiences have been sparse. The owner of the orchestra sadly tells them it must shut down. He comes home and informs his wife. There is more bad news. He recently purchased a new cello, paying far more than they could afford. He didn't tell her because he knew she would say it was a bad idea. Now she knows.

was reminded of these words spoken in Errol Morris's "Gates of Heaven:" Life is for the living and not for the dead so much. The hero of "Departures" is Daigo (Masahiro Motoki), an impulsive young man, likable, easy to read. His wife Mika (Ryoko Hirosue) loves him and believes in him. When disaster strikes, she's quick to agree they must return to the small town where he was born and move into his childhood home, which was left to him after his mother's death not long ago. He sells the expensive cello and they make the trip. This is defeat for him: Unemployed, owning not even an instrument, back where he began. Looking into the employment ads, he finds a promising offer at what sounds like a travel agency. Daigo applies at a quiet little office managed by an assistant (Yo Kimiko), and soon the owner, Mr. Sasaki (Tsutomu Yamazaki), appears. The interview is brief. He gets the job and a cash advance. He discovers the agency handles travel, all right -- to the next world. It is an "encoffinment," or undertaking, business. Before he has time to absorb this idea, Daigo is taken along by his new boss to observe the process. It strikes me as more humane than the Western practice of out of sight embalming and so on. The body of the departed is displayed on a mat in front of the mourners, who kneel together and watch the process of preparation. It is a

ceremony of precise ritual and grace. Carefully arranged sheets preserve the dead person's privacy as the corpse is washed and dressed. Then the face is made up with exquisite attention to detail. Finally the body is placed in a simple wooden coffin. Most family members remain silent, but sometimes there are outbursts of emotion -- or truth -- and young Daigo starts learning lessons of life. He delays telling his wife what the job entails, because it would shock her. Undertaking is an important occupation in Japan, I gather, but not a respectable one. In his childhood house they grow closer than ever before, and play old LP records his father left behind. He reveals his bitterness toward the man, who disappeared and never contacted the family again. Mika is content until the day she discovers what her husband is doing for a living. As much as she loves him, she tells him she must leave him; she doesn't even want to be touched by a man who prepares the dead. The construction of Takita's screenplay is rock-solid in its fundamentals, and yet such is the film's flow that we don't sense the machinery creaking. Subplots are introduced and we hardly notice. Mr. Sasaki misses his late wife. The office assistant has a sad story of her own. We learn something of the several families that employ the Departures firm. We meet the old lady

who runs a public bath, and her oldest customer, and later the attendant at a crematoriam. We watch the quiet, sweet way in which the assistant informs Daiko he was born for this work. We understand why, when his wife leaves, Daiko knows he must stay. He provides a service that has become meaningful to him. Takita's music and cinematography are part of the film's success. Cello music, some performed in a beautiful fantasy outdoor scene by Daigo, more at home with the little cello he owned as a child, is right for this material. (A discreet shot shows the marks still on the floorboards from where it rested while he practiced.) The cinematography by Takeshi Hamada can perhaps be called polite. No shots for effect. It has the decorum of a mourner at a funeral. Beauty shots, such as the outdoor cello performance, feel as if the camera has been granted sudden freedom. Close-ups don't punch up points, but allow us to peer into these faces we have come to value. Casting is vital in this movie, in no role more than Mr. Sasaki. The actor Tsutomu Yamazaki has a wise and serene face. He makes the character not demonstrative but understated, as he plays the young man's personality gently. We understand why his assistant reveres him. He never makes speeches about the importance of his work. All is implied or demonstrated.

At the end, when several plot threads come together, it happens so naturally and is so deeply satisfying. This film is not a stylistic breakthrough or a bold artistic statement. But it is rare because it is so well-made. The universal reason people attend movies is in the hopes of being told an absorbing story that will move them. They would rather be touched emotionally, I believe, than thrilled, frightened, or made to laugh. Yet there are few things more deadening than manipulative sentimental melodramas -- what Variety likes to call "weepers." "Departures" plays fair. It brings four main characters onstage (and the sweet old couple from a bath house). We know and understand them. We care about them. They are involved in an enterprise we probably knew nothing about. It touches on death, a subject of general fascination. There is nothing contrived about its problems; they belong naturally to the narrative. It doesn't drag its feet and bewail fate, but even permits itself some laughter, which is never out of tone. It functions flawlessly. Because the audience at Ebertfest doesn't choose the films and often knows nothing about them, some of the members must have been uneasy to discover they were watching a Japanese film about undertaking. They seemed to become quickly involved. I heard the sounds of emotion in the

dark. They cheered at the end because they had seen a film that was excellent at achieving the universal ends of narrative. How often does that happen?

Jhoanna Rein S. Duzon III- Mendeleev

1. What is caption and border in HTML table?
A table with a caption:

<table border="1"> <caption>Monthly savings</caption> <tr> <th>Month</th> <th>Savings</th> </tr> <tr> <td>January</td> <td>$100</td> </tr> </table>

Definition and Usage The <caption> tag defines a table caption. The <caption> tag must be inserted immediately after the <table> tag. You can specify only one caption per table.
2. How to put caption and border in HTML tables?

HTML Tables
Tables are defined with the <table> tag. A table is divided into rows (with the <tr> tag), and each row is divided into data cells (with the <td> tag). td stands for "table data," and holds the content of a data cell. A <td> tag can contain text, links, images, lists, forms, other tables, etc.

Table Example
<table border="1"> <tr> <td>row 1, cell 1</td> <td>row 1, cell 2</td> </tr> <tr> <td>row 2, cell 1</td> <td>row 2, cell 2</td> </tr> </table>
How the HTML code above looks in a browser: row 1, cell 1 row 1, cell 2 row 2, cell 1 row 2, cell 2

HTML Tables and the Border Attribute

If you do not specify a border attribute, the table will be displayed without borders. Sometimes this can be useful, but most of the time, we want the borders to show. To display a table with borders, specify the border attribute:

<table border="1"> <tr> <td>Row 1, cell 1</td> <td>Row 1, cell 2</td> </tr> </table>

HTML Table Headers

Header information in a table are defined with the <th> tag. All major browsers display the text in the <th> element as bold and centered.

<table border="1"> <tr> <th>Header 1</th> <th>Header 2</th> </tr> <tr> <td>row 1, cell 1</td> <td>row 1, cell 2</td> </tr> <tr> <td>row 2, cell 1</td> <td>row 2, cell 2</td> </tr> </table>
How the HTML code above looks in your browser: Header 1 Header 2 row 1, cell 1 row 1, cell 2 row 2, cell 1 row 2, cell 2

HTML Table Tags Tag <table> <th> <tr> <td> <caption> <colgroup> <col> <thead> <tbody> <tfoot> Description Defines a table Defines a header cell in a table Defines a row in a table Defines a cell in a table Defines a table caption Specifies a group of one or more columns in a table for formatting Specifies column properties for each column within a <colgroup> element Groups the header content in a table Groups the body content in a table Groups the footer content in a table