Hiển thị các bài đăng có nhãn Satoshi Kon. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn Satoshi Kon. Hiển thị tất cả bài đăng

Thứ Hai, 28 tháng 7, 2014

End of July Round Up! Grusin and Kara on the post-cinematic, new ALPHAVILLE, WORLD PICTURE and ANIKI, Keathley, Bellour, Mittell, and Wasko videos, and lots more!

               Do you ever get confused about movies, television, life? You are not alone...
SFR (Swiss Family Robinson [Ken Annakin, 1960]) by Christian Keathley on Vimeo.

Film Studies For Free is delighted to present its latest handy round up of links to great online, open access items of film and media scholarly interest! 

New SEQUENCE One essays:
SEQUENCE is delighted to announce the publication of two further individual responses -- by Richard Grusin and Selmin Kara -- to Steven Shaviro’s magisterial article “MELANCHOLIA, Or The Romantic Anti-Sublime”, SEQUENCE 1.1 (2012), the launch essay for PLANET MELANCHOLIA, the inaugural issue of SEQUENCE, REFRAME‘s experimental, peer-reviewed, media, film and music studies serial publication.
    Following Rupert Read’s engagement with Shaviro in SEQUENCE 1.2, which offered a personal, affective (and deeply philosophical) account of Lars von Trier’s 2011 film Melancholia, in their very fine, equally philosophically-informed, contributions Grusin and Kara turn their detailed attention to the questions of "post-cinematic atavism" and "primordigitality" raised by the hybrid analog/digital technical and aesthetic contexts of a number of recent films, including Melancholia as well as Michel Hazanavicius's The Artist (2011), Martin Scorsese's Hugo (2011), Terrence Malick’s The Tree of Life (2011), Benh Zeitlin’s Beasts of the Southern Wild (2012), and Patricio Guzmán’s Nostalgia for the Light (2010) .
    SEQUENCES continues to invite further responses to Shaviro’s article as well as to those which have followed it in the SEQUENCE One thread, as well as to the second issue of SEQUENCE: ‘We Need to Talk about the Maternal Melodrama'.

Video essay on the documentaries of late Brazilian filmmaker Eduardo Coutinho by Michael Chanan

Video essay on Editing Space and Time in Satoshi Kon's films by Tony Zhou

Network of European Cinema and Media Studies 2014 conference videos and audio:

New issue of ALHAVILLE, Issue 7, 2014, on Corporeal Cinema

New issue of WORLD PICTURE, 9, 2014, on 'Serious'

Great new issue of the Portuguese film studies journal ANIKI (1.2, 2014) w/ LOTS of research published in English, including a dossier on art and cinema, an interview with Jia Zhang-ke and Marshall Deutelbaum's article on Raúl Ruiz's Mysteries of Lisbon.

Updates at David Bordwell and Kristin Thomspon's Observations on Film Art website:

Girish Shambu's latest blog entry 'On Video Essays, Cinephilia and Affect', which includes lots of great suggestions for further reading and an excellent comments thread

Check out all the updates to Wikipedia as a result of the #SheMustBeWiki, feminist film studies wiki writing event at the Institute for Contemporary Arts, London, July 25, 2014:

Excellent video on Brian De Palma's cinematic art of looks and looking by Cristina Álvarez López and Adrian Martin:

Barbara Flueckiger's important update about her wonderful open access project on Film Colors

Desistfilm Issue 6, 2014
  • Online here: http://desistfilm.com/category/issue-006/
  • PETER WHITEHEAD: REVOLUTION, REVELATION – PINK FLOYD LONDON 1966-1967 By Lu Juejing
  • EMBRACING BY NAOMI KAWASE By Adrian Martin
  • SHAKING TRACKS: THE DOCUMENTARY WAYS IN THE WORK OF KORE-EDA HIROKAZU By Claudia Siefen
  • ON Hi-8/DIGITAL AND THE INTIMATE: THE FILM DIARIES OF ALAIN CAVALIER By José Sarmiento Hinojosa
  • DAY IS DONE DE THOMAS IMBACH Por Mónica Delgado
  • A REAL DEAD RINGER FOR LOVE. VIDEO FOOL FOR LOVE By Adrian Martin
  • DIALOGUE WITH A WOMAN DEPARTED BY LEO HURWITZ By José Sarmiento Hinojosa
  • ROUTE ONE/USA DE ROBERT KRAMER Por Nicolás Carrasco
  • VARIACIONES DEL “FILMADOR” EN ALGUNAS PELÍCULAS INDEPENDIENTES Y EXPERIMENTALES DE AMÉRICA LATINA Por Mónica Delgado
  • FEATURED FILMMAKER: JENNIFER REEDER By José Sarmiento Hinojosa
  • EL DIARIO FÍLMICO EN ESPAÑA, HOY Por Ricardo Adalia Martin
  • NEARSIGHT BY SAUL LEVINE By José Sarmiento Hinojosa

Check out this fantastic resource on the work of Chris Marker, including IMMEMORY, Guillaume sightings worldwide, and other gems (link via Via Genevieve Yue and Nico Baumbach):

Innovative, Canada-based, film studies publisher caboose has launched the collaborative on-line project Planetary Projection, introducing some of the world’s remarkable film projectionists. We invite you to help us find a few more, in every corner of the globe, so that they might tell us their stories

Online extract from Madelon Sprenthnether's remarkable book Crying at the Movies:

Great video in which director John Akomfrah talks to Baroness Lola Young about The Stuart Hall Project, which paints a sensitive and emotionally charged portrait of the celebrated cultural theorist.  

For a few more days, enjoy temporary free online access to many articles from Routledge Film and Cinema Studies journals

'I Have to Trust My Intuition': A 40-Minute Chat Between Ingmar Bergman & AFI Film Students at NoFilmSchool:
The "Motherhood Archives" - Irene Lustzig's epic multimedia essay on institutionalization of birth and motherhood:
New ADA: A JOURNAL OF GENDER, NEW MEDIA AND TECHNOLOGY issue on Queer Feminist Media Praxis:
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Thứ Năm, 1 tháng 3, 2012

Reassessing Anime: Japanese cinema and animation



Anime is a visual enigma. Its otherworldly allure and burgeoning popularity across the globe highlights its unique ability to be more than just another type of animation. Originally a novelty export from post-war Japan, anime has now become a subtle yet important part of Western popular culture. Furthermore, it remains a key area of audience and fan research that crosses all generations – children, teenagers, and adults. From Osamu Tezuka to Hayao Miyazaki, Akira (Katsuhiro Ôtomo, 1988) to Ghost in the Shell (Mamoru Oshii, 1995), anime’s extraordinary characters and oneiric content still enable it to be regarded as one of the most awe-inspiring visual spectacles going into and during the twenty-first century.
    Keenly aware of anime’s rich history, cultural and global context, and increasing presence and influence on Western art, literature and film, the theme of this issue of Cinephile is ‘Reassessing Anime.’ The six articles included herein aim to address and tackle some of the overlooked aspects of anime. Such a reassessment by each author hopes to encourage future academic scholarship into the evolution and value of anime and, moreover, its impact not only on film but also on TV, comic books, video games, music videos, and corporate marketing strategies. [Jonathan A. Cannon, Editor's Note, Cinephile, 'Reassessing Anime', 7.1, 2011. FSFF's hyperlinks]

Film Studies For Free is delighted to announce that the Spring 2011 issue of Cinephile, the excellent film journal edited out of the University of British Columbia, Canada, has just been made available for download for free as a single PDF file.

As signalled above, this issue is dedicated to "Reassessing Anime" and it features great, original articles by internationally renowned animation scholars Paul Wells and Philip Brophy, as well as illustrations by Vancouver-based artist Chloe Chan.

The issue's table of contents is given below, and below that, FSFF has also provided a handy, clickable index of its own popular posts on anime and Japanese cinema.

The latest issue of Cinephile, available for purchase now, is on Contemporary Realism. It features original articles by Ivone Margulies and Richard Rushton. There is also a call for papers on "The Voice Over".
  • 'Playing the Kon Trick: Between Dates, Dimensions and Daring in the films of Satoshi Kon' by Paul Wells
  • 'The Sound of an Android’s Soul: Music, Muzak and MIDI in Time of Eve' by Philip Brophy
  • 'Beyond Maids and Meganekko: Examining the Moe Phenomenon' by Michael R. Bowman
  • 'Reviewing the ‘Japaneseness’ of Japanese Animation: Genre Theory and Fan Spectatorship' by Jane Leong
  • 'The Higurashi Code: Algorithm and Adaptation in the Otaku Industry and Beyond' by John Wheeler
  • 'Mamoru Oshii’s Ghost in the Shell 2: Innocence: Thinking Before the Act' by Frédéric Clément 
Film Studies For Free on Anime and Japanese Cinema
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Thứ Tư, 25 tháng 8, 2010

Dreaming Movies: RIP Satoshi Kon (1963-2010)

Image from Ohayo/Good Morning (part of Ani*Kuri15) (Satoshi Kon, 2008) See the video embedded below

[...] Kon fully takes advantage of what makes animated films unique. [His film Paprika (2006)] is ultimately a dream about movies, as well as a movie about dreams. The way characters jump in and out of settings first made me think of Buster Keaton's Sherlock Jr., perhaps the original virtual reality movie. One can also easily link Paprika to such films as David Cronenberg's eXistenZ. In another moment that may be a nod to Cronenberg, two of the characters jump into a television screen. Because this is a truly animated film, Kon creates a universe where a long office hallway and walls suddenly undulate with the solidity of a half-filled waterbed, characters in advertisements leap out into other billboards or out into the streets, and giant toy dolls threaten the planet.
It is the dense and detailed imagery that makes Paprika stand out. Frames are crowded with giant marching frogs, large appliances and living dolls. The goofy spirit of the film is close to the self-refererential work of the Fleischer Brothers' earlier work with Koko the Clown and Betty Boop. The story loops around itself like a mobius strip, with dreams and dreams within dreams.
Paprika, the character, dreams of a street where there are old fashion movie theaters, one of which shows Roman Holiday. Kon even has a character going to a multiplex that is showing nothing but Kon's previous features on each of the screens. Movies have informed Kon's films, so that Perfect Blue is an anime thriller that has reminders of Hitchcock, De Palma and Argento. Tokyo Godfathers, with both its plot about an abandoned baby and Christmas setting could well have been inspired by John Ford's Three Godfathers. While Kon has not cited specific films as influences on Paprika, he did agree with the observation that his new film was "like a collision of Hello Kitty and Philip K.Dick." [Peter Nellhaus, 'Aurora (Colorado) Asian Film Festival, Part 3', Coffee coffee and more coffee, June 3, 2007]

Film Studies For Free was very sad to hear of the untimely death at the age of 46 of Japanese  anime auteur Satoshi Kon. Paprika, the film Peter Nellhaus is referring to above, a complex and densely entertaining oneiric thriller, was one of FSFF's author's favourite animated films of recent years.

Kon directed his first film, Perfect Blue, in 1997, followed by Millennium Actress, Tokyo Godfathers, Paprika, and the television series Paranoia Agent. A fifth film, The Dream Machine, is still in production at the time of his death.

Some great memorial linkage about Kon has been posted in the last few days by David Hudson. But there are not too many online scholarly studies of Kon's work yet, sadly, though FSFF is sure that will change. For now, then, here are some links to the very worthwhile resources and discussions that have been made freely accessible.


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