Television
- Higashino Keigo Mysteries (Fuji TV, 2012, Story 1)
- Strangers 6 (WOWOW/Fuji TV/MBC, 2012)
- Guilty Akuma to Keiyakushita Onna (Fuji TV, 2010)
- Fumo Chitai(Fuji TV, 2009)
- Galileo (Fuji TV, 2007, ep1)
- Akechi Mitsuhide(Fuji TV, 2007)
- Komyo ga Tsuji as Maeda Toshiie (NHK, 2006, guest star, ep39&40)
- Kobayakawa Nobuki no Koi(Fuji TV, 2006)
- Hachiro (NHK, 2005)
- Shiroi Kyoto (Fuji TV, 2003)
- Toshiie and Matsu (NHK, 2002)
- Love Complex (Fuji TV, 2000)
- Ai Kotoba wa Yuki(Fuji TV, 2000)
- Brothers (Fuji TV, 1998)
- Eve (Fuji TV, 1997)
- Ii Hito (Fuji TV, 1997, ep7)
- Souri to Yobanaide (Fuji TV, 1997)
- Boku ga Boku de Aru Tame ni(Fuji TV, 1997)
- Oishii Kankei (Fuji TV, 1996)
- Furuhata Ninzaburo (Fuji TV, 1996, season 2, ep19)
- Kagayake! Rintaro (TBS, 1995)
- Oishinbo (Fuji TV, 1994-1999)
- Imoto Yo (Fuji TV, 1994)
- Nichiyo wa Dame yo (NTV, 1993)
- Homework (TBS, 1992)
- Ai to iu Nano Moto ni (Fuji TV, 1992)
- Kekkon no Risou to Genjitsu (Fuji TV, 1991)
- Otoko ni Tsuite (TBS, 1990)
- Wataru Seiken wa Oni Bakari (TBS, 1990, season 1)
- Kasuga no Tsubone (NHK, 1989)
- Totteoki no Seishun (NHK, 1988)
Read more about this topic: Toshiaki Karasawa
Famous quotes containing the word television:
“Television ... helps blur the distinction between framed and unframed reality. Whereas going to the movies necessarily entails leaving one’s ordinary surroundings, soap operas are in fact spatially inseparable from the rest of one’s life. In homes where television is on most of the time, they are also temporally integrated into one’s “real” life and, unlike the experience of going out in the evening to see a show, may not even interrupt its regular flow.”
—Eviatar Zerubavel, U.S. sociologist, educator. The Fine Line: Making Distinctions in Everyday Life, ch. 5, University of Chicago Press (1991)
“In full view of his television audience, he preached a new religion—or a new form of Christianity—based on faith in financial miracles and in a Heaven here on earth with a water slide and luxury hotels. It was a religion of celebrity and showmanship and fun, which made a mockery of all puritanical standards and all canons of good taste. Its standard was excess, and its doctrines were tolerance and freedom from accountability.”
—New Yorker (April 23, 1990)