Showing posts with label Japan. Show all posts
Showing posts with label Japan. Show all posts

Monday, January 21, 2008

Sans Soleil (1983)


Sans Soleil: intro


Sans Soleil: Welcome to Tokyo


Sans Soleil: Repair the web of time


Sans Soleil: Collectivisation [les rêves]


Sans Soleil: Year of the dog


Sans Soleil: Teknoko


Sans Soleil: fragment

One of the films I'd like to see again... Sans Soleil ("Sunless", 1983) is Chris Marker's (born in 1921 and maybe best known for La Jetée) famous documentary/experimental film/travelogue/cinematic essay/meditation on human memory; somewhere in the borderlines of dream, surrealism and science fiction. Visiting Africa, San Francisco and having a special emphasis on Japan, that home of the hyperreal, taking the viewer to manga shops and a special shrine dedicated to cats.

  • Full text of the film @ markertext
  • IMDB
  • A review by Henry Sheehan
  • Wednesday, July 13, 2005

    Japanese Ads

    A blog for "pop-culture art games tech Japan":

    http://octopusdropkick.net/

    Monday, June 27, 2005

    Neon Genesis Evangelion

    Finnish SubTV channel has shown during the first half of this year the Japanese anime series Neon Genesis Evangelion (1995), which has gained an international cult reputation. Even though I'm not actually a big manga/anime connoisseur (when working at a local comics store, I checked out some of this stuff, nevertheless, so I have a general idea about these genres), I have followed the series with some interest. Neon Genesis Evangelion is a mixed bag and more often than not a confounding one.

    Basically it's a post-apocalyptic story of a 14-year old schoolboy Shinji Ikari (what is this general Japanese fascination with adolescent characters all about?), who reluctantly becomes a pilot for one of the EVAs, a fleet of gigantic robots which protect the world against the attacks of mysterious Angels, extraterrestrial creatures named after Biblical angel characters, who wreak havoc and destroy whole cities like those monsters in old Japanese Godzilla films.

    This is all basically a variation of The Transformers, but made for grown-up audiences, with chockful of mystical and metaphysical references to the Dead Sea Scrolls, Torah, Kabbala, and so on. One of the main themes of the series is Shinji's difficult relationship with his cold scientist father who heads NERV, the UN-funded organisation fighting against the Angels (Shinji's mother committed suicide when he was only a toddler).

    As said, one gets mixed feelings watching Neon Genesis Evangelion, with its overflowing combination of science fiction, soap opera, a young boy's development story, Biblical mysticism, occasional psychedelic sequences and even cheapo comedy elements. Could one reason be that all the nuances of Japanese culture won't exactly translate themselves to a Western watcher? On the one hand it feels like a bunch of nonsense, on the other hand there's a lot surprising depth with characters and plot hardly found in similar Western action/sci-fi stories.

    Guide to Neon Genesis Evangelion

    Neon Genesis Evangelion in Finnish

    Thursday, June 16, 2005

    Wednesday, September 22, 2004

    The Exotica Of Extreme Japan

    Japan intrigues me in all its extremity and its certain cultural manifestations, which can seem totally strange and weird for a Western observer.

    I emphasize I don't want to fall into any Euro-centric, xenophobic or even racistic prejudices here. "White man's burden" type of colonialistic thinking is always typified by its morbid fascination with anything reeking of "exoticism", "alien", "other" -- which can sometimes make "healthy" (or "scientific") interest in foreign cultures seem problematic or at least ambivalent.

    Think of, for example, the Western interest in Eastern religions (Hinduism, Buddhism, Zen, etc.) which started with the 19th century Theosophists, continued with C.G. Jung and found its modern expression in the 1950s with American Beat Generation writers; or any phenomenon of "tribal" culture found from the so called Third World countries or the outskirts of "our" civilization: the "new primitivism" and its fascination with Native American cultures both in North and South America, the 1950s "Tiki" fad of Hawaiian/Polynesian origin, fashionable Maori tattoos of New Zealand, the all-encompassing New Age mysticism combining Hopi Indian beliefs to Sufism and Tibetan Buddhism; even the whole genre of "World Music", just to mention some examples.

    Of course, as mentioned, it can get very difficult to discern the faddish interest in anything "exotic" from the genuine interest and sympathy for foreign cultures, and it's not really my task to find out which is which actually. Perhaps one can find here certain traces of Rousseau's 18th century "Back to Nature" thinking, but personally I'm more interested now in the hybrids of so called primitive or traditional cultures with our technological, modern way of life. Therefore Japan.

    It's fascinating how in Japanese culture one can find Western influences that have mutated into something totally different and new, when it finds its expression in Japanese milieu and its characteristic and traditional way of thinking, code of conduct and mentality, which can appear as peculiar to us Westerners. I understand that Japanese tradition emphasizes heavily group pressure and conformity which can seem totally opposite to Western ideas of individualism and "personal freedom".

    Could it be that certain expressions of contemporary Japanese culture are then some sort of "safety valves" to let off this steam: that mental pressure which is created by a strongly conforming culture? Thus, for example the often extremely violent/sexual content of manga comics or Japanese film could be expression of this psychopathology which can't be outvented in any other way in society which emphasizes a strict code of conduct, honour and conformity. And therefore these explicit and even antisocial, often unaccepted forms of expression act, in fact, as a preserving factor in society?

    Tuesday, September 21, 2004

    Japanese Red Army

    A wave of student radicalism swept through the whole world in the late 1960s and early 1970s. Vietnam war, American civil rights movement, May of 1968 in Paris, the "Spring of Prague" followed by Soviet occupation of Czechoslovakia in the same year and the 1973 military coup in Chile were catalysts in this international turmoil. Here in Finland the pinnacle of cultural radicalism was the Marxist-Leninist Taistolaiset movement, who leaned heavily in their ideology towards the Soviet Union. There was a lot of heated discussion on revolutionary dialectism, but in the end the dogmatic Taistolaiset rhetoric was more violent than their actions. This was not the case in Japan, however, where the terrorist organisation Japanese Red Army was formed.

    The Japanese Red Army had its roots in the leftist student movement, who opposed the US-Japan security treaty of 1960, which was renewed ten years later. Japan hosted American military bases, and arms shipments (including napalm) and maintenance for the Vietnam war were operated from these bases. Furthermore, the leftist students pointed an accusing finger to Japan's own past as a "fascistic occupator".

    The revolt against high officials started at the elite university of Todai as well as at Nichidai, which was a more working class-based university with the massive attendance of 100.000 students. In 1967 in the village of Sanzurika north of Tokyo students together with local farmers were waging war with the government over the construction of Narita International Airport. Farmers were expected to relocate from the lands of their ancestors, which they refused, and they were joined by students who saw the construction of Narita purely in geopolitical terms. Students also blocked in October 1968 the Shinjuku Railway Station through which travelled the trains carrying arms supplies meant for the Vietnamese war. The student activist organisation Zenkyoto demanded academic reforms and democratization of the university. Different Japanese activist factions were known for their helmets of different colours (for example, Communists wore yellow helmets): these were useful in the incidents of gebabo or gewalt, violent staves.

    Zenkyoto prevented the entrance examination for fiscal year by barricades and then they occupied the Yasuda Hall of Todai in January 1969. There was a riot police siege around the building and Molotov cocktails were thrown. When the occupation ended after three days, 768 students were arrested, 170 policemen and 47 students having been injured.

    The Yasuda incident was a major blow for the Japanese student movement, after which took place the fragmention into various of socialist, communist and anarchist fractions.

    Some of those undertook the way of armed revolt. The Red Army, which had reorganised itself in 1971, attacked banks and police stations. They carried out a series of attacks around the world: the most notorious was the machine gun and grenade attack at Israel's Lod Airport (now Ben Gurion) in 1972, a massacre which left 26 dead and 78 injured. There were also two Japanese airliner hijackings -- in 1970 a Red Army faction forced a JAL plane to fly to the North Korean capital Pyongyang -- and an attempted takeover of the US Embassy in Kuala Lumpur. The group based itself in Lebanon in the 1970s, where they linked up with Palestinian extremists.

    On February 19, 1972, five members of the Red Army, or Rengô Sekigun, took a hostage and shut themselves up in a Asama mountain villa in Karuizawa, Nagano Prefecture, but were finally arrested on February 28. The battle between the radicals and the police was broadcast live on television: both NHK and commercial broadcasters relayed more than 10 hours of footage of the incident. Police ended the siege by crushing the villa with a crane and demolition ball. After the suppression of the revolt, it turned out that the far-left radicals had committed brutal purge murders within themselves under the name of sôkatsu (summary) while they were leading a fugitive life. To many people the Asama Sansô incident meant the final failure of the New Left mass movement. Purge murder victims numbered 12. Three were shot dead in the Asama Sansô battle.

    Radical film-makers such as Shinsuke Ogawa also joined the student revolt with their controversial films (not to talk about the era's other films of subversion and violence, or such Japanese sexploitation genres as pink eiga or roman porno -- and of course Nagisa Oshima's In the Realm of Senses). Shinsuke had already documented the struggle against the construction of the Narita Airport.

    Films directed by Koji Wakamatsu, Yoshishige Yoshida, Shohei Imamura and Nagisa Oshima pursued revolutionary politics and questioned the repressive side of Japanese society. After 1968, Wakamatsu's films had become increasingly political -- not least because Wakamatsu's screenwriter Masao Adachi became heavily involved with the politics of the extreme left. Adachi, who directed seven pink eiga, eventually became a member of the Japanese Red Army. In 1973 he left Japan to join the Palestinian Liberation Front PFLP in Lebanon where he stayed until he was extradited to Japan in March 2000. After a trial and brief prison term, he has returned to the film industry with plans for a new movie.

    In April 1988, Japanese Red Army operative Yu Kikumura was arrested with explosives on the New Jersey Turnpike, apparently planning an attack to coincide with the bombing of a USO club in Naples, a suspected JRA operation that killed five, including a US servicewoman. He was convicted of the charges and is serving a lengthy prison sentence in the United States. Tsutomu Shirosaki, captured in 1996, is also jailed in the United States. In 2000, Lebanon deported to Japan four members it arrested in 1997, but granted a fifth operative, Kozo Okamoto, political asylum. Red Army's long-time leader Fusako Shigenobu, "the Red Queen", was arrested in Osaka in November 2000 after having been previously living in Lebanon for thirty years.