23 August 2014

Legend of the Forest, Part 2 (森の伝説 第二楽章, 2014)



At the inaugural biannual Hiroshima International Animation Festival in 1985, the legendary animator and manga-ka, Osamu Tezuka (手塚 治虫, 1928-89) won the Grand Prize with his experimental shot, Broken Down Film (おんぼろフィルム, 1985).  Thus it is fitting that his son, Macoto Tezka (aka Makoto Tezuka/手塚 , b. 1961) was able to complete Legend of the Forest, Part 2 (森の伝説 第二楽章/Mori no Densetsu, Daini Gakushō, 2014) in time for the 30th anniversary of the festival.  Tezka had announced his plans to make Part 2 at Hiroshima 2008, but many factors delayed production including the earthquake in 2011, and the fact that the animators were also involved in the production of Studio Ghilbi’s The Wind Rises (Hayao Miyazaki, 2013) and The Tale of Princess Kaguya (Isao Takahata, 2013), not to mention Evangelion: 3.0 You Can (Not) Redo (2012).  At the screening on the opening day of the festival, Tezka joked that just like his father, he is always missing deadlines.

Happily I can announce that the film was well worth the wait.  Before I review the new part, let me first summarize the background of the film: Legend of the Forest is an unfinished work by Osamu Tezuka (read my review).  Inspired in part by Disney’s Fantasia (1940), Legend of the Forest was intended to be a film in four parts, with each part corresponding to one of the four movements of Tchaikovsky’s Symphony No.4 in F minor, Op. 36 (1878).  Before his untimely passing in 1989, Tezuka had completed parts 1 and 4.  He left behind a synopsis and notes for Part 2, but no sketches.  Part 2 was to be made using classical Disney animation methods, such as those found in Pinocchio (1940) – which also screened at Hiroshima Thursday as a tribute to Ward Kimball who was International Honorary President at Hiroshima 1992 – and Bambi (1942). 



The soundtrack is the original recording of the Andantino movement of Symphony No.4 by the Tokyo Symphony Orchestra under Kenichiro Kobayashi which was used by Tezuka in the two works he completed.   With only the music and the notes by Tezuka as a guide, Tezka instructed the animators to make a film using traditional animation methods but in their own style.   The resulting film is very much a modern take on classical animation style. 

Just like the nature sequences in a Disney film of yesteryear, Legend of the Forest, Part 2 opens with a dramatic sweep into the forest.  Deeper and deeper, through layers of leaves the “camera” moves until we discover a female mayfly (カゲロウ/kagerō), trapped in a spider’s web.  A male mayfly spots the damsel in distress and flies to her rescue.  The drama that ensues, and the danger that they encounter as they float down an unpredictable river is beautifully rendered with an eye to detail. 

The mayflies have been anthropomorphized and resemble fairies, but the other creatures that they encounter have been drawn in a realistic fashion.  The character design is the work of former Mushi Pro animator Akio Sugino, famous for his collaborations with the late Osamu Dezaki, on board for character design.  The characters have sweet and very expressive faces without being too “kawaii”. 

The most impressive aspect of this animated short is the movement, not only of the characters, but also their environment (leaves, water, etc), and the movement of the “camera” through spaces.   It is pretty clear that the animators spent a lot of time listening to the music and imagining the sequences.   The film is truly a delight to watch and filled me with the kind of wonder I felt the first time I watched Fantasia.  The film is a wonderful homage to both Tezuka and classic Disney animation. 

At the screening, Macoto Tezka announced that he plans to also direct Part 3 himself.  According to the notes left by Tezuka, the animation for the scherzo should have no story, but be experimental in the style of Norman McLaren with puppets in the style of Jiří Trnka.  Tezka suggested that Part 3 would have a mixture of abstract and puppet animation and that the resulting film will be more in the style of Macoto Tezka himself than that of his father. 

There was no full credit sheet distributed at the festival, so I will add those details when they become available.   

The next opportunity to watch Legend of the Forest, Part 2, will be September 5-14, 2014 at the Brillia Short Shorts Theatre in Minato Mirai (Yokohama).

Official website: http://tezukaosamu.net/
Catherine Munroe Hotes 2014

http://hiroanim.org/


12 June 2014

The Connecting Bridge (架け橋, 2013)



Japan has the most advanced early warning system for earthquakes and tsunami in the world, but that did not prevent 15,885 people from losing their lives in Tōhoku following the fifth largest earthquake ever recorded.  Many of these fatalities were caused by inadequate local knowledge (see: Reiko Hasegawa, IDDRI) and poor communication (See: S. Fraser, et al., Report). 

While the triple disaster of 3/11 was terrifying enough for the hearing population of Japan, imagine how exponentially more terrifying it must have been for the deaf community.  It was exactly this thought that spurred deaf documentarian Ayako Imamura (Studio Aya) to pick up her camera and drive to Miyagi Prefecture to find out how the deaf community was coping in the aftermath of the earthquake/tsunami.  Her first stop was the Miyagi Deaf Association, led by Shoju Koizumi, who from their headquarters in Sendai immediately sprang into action to assist their 363 members. 


Imamura focuses her documentary film The Connecting Bridge: 3/11 That Wasn’t Heard (架け橋~聞こえなかった3.11 / Kakehashi - Kikoenakatta 3.11, 2013) on the heart-rending stories of some of those members who survived.  Although many of them had received warnings of the imminent earthquake on their cellphones, in the immediate aftermath of the earthquake cellular communication went out of service.  Not only was this means of communication cut off, but deaf people were also unable to hear the tsunami warning sirens.  This meant that only those people who had thoughtful and concerned neighbours and family members were able to evacuate. 

In Iwanuma City, Imamura meets Teruo Sai and his wife, Naoko Sai, who for forty years have run a barbershop about 2 kilometres from the ocean.  The clock in their barbershop has stopped at the time of the earthquake.  Their shop is covered in mud and debris from the tsunami.  The Sais were unable to hear the announcements and by the time they realised that the tsunami was upon them it was too late to evacuate to the elementary school because the water was already rushing down the street.   Fortunately, they were able to survive on the second floor of their house. 



The Sais’ friends, Nobuko Kikuchi and her husband Tokichi Kikuchi, lost their home altogether.  All that remains is the foundation.  If their hearing neighbours had not taken the time to warn them, the Kikuchis would likely have perished along with their home.  The couple now live in an evacuation shelter.  As they are the only deaf people in the shelter, they find it very stressful because they never understand what is going on.  It soon becomes evident that the biggest communication problem is that the deaf are often too shy – or in a very Japanese way unwilling to inconvenience others – to let people know what their special needs are.  As deafness is not a visible disability, the hearing community often does not notice that there is a communication failure. 

I was reminded while watching The Connecting Bridge of something Marlee Matlin, the Oscar-winning deaf actress once said: “I hope I inspire people who hear. Hearing people have the ability to remove barriers that prevent deaf people from achieving their dreams.” (Source: Business Week, May 22, 2001).  This also appears to be the mission of Ayako Imamura, who hopes that by telling the stories of deaf people to inspire hearing people to take notice and to help build bridges between the hearing and the deaf communities. 

Imamura is not an objective filmmaker but a subjective one who really cares about the people she is filming.  The strong bond that she develops with the subjects of her film becomes evident when Mrs. Kikuchi becomes overwhelmed with emotion and Imamura steps in to embrace her.  The confusion and fear felt by these survivors is truly moving – particularly the story of Enao Kato, an elderly gentleman who never learned how to read during his wartime childhood.  This means that he is unable to read the instruction manuals for his new property in the evacuation shelter until Mr. Koizumi comes to assist him.



Koizumi is the strongest “connecting bridge” in this film, which is why it is so tragic in the middle of the film when he is struck down by a stroke.  His determination to recover from his stroke so that he can return to helping others in his community is truly inspiring.  The small acts of kindness depicted in the film, from the young volunteers trying to learn basic signs, to the barbershop customer who waits for the Sais to reopen before getting his hair cut again, are a reminder of how little it takes to reach out to others in our own neighbourhoods to make them feel understood and valued.  Not only can thinking of the needs of others spread good will, but when disaster strikes it can also save lives. 


Notes from the Q+A with Ayako Imamura (post-screening at Nippon Connection 2014)

  • Imamura bonded with Koizumi, the head of the Miyagi Deaf Association, over a shared love of beer.  It also turned out that Koizumi’s hearing daughter is the exact same age as Imamura and Koizumi himself is the same age as Imamura’s own father, so they bonded over this coincidence as well.
  • Regarding the soundtrack:  someone asked why she had used a male narrator when she, the director, is female.  Imamura responded that she chose a male narrator because the central story for her was that of Koizumi.  His own personal story begins and ends the film, and without him she would never had met the people he and the Miyagi Deaf Association were assisting. 
  • Regarding the music:  The closing of the film features the song “Not Alone” (1人じゃない / Hitori ja nai) by Kazuhiro Kojima quite prominently.  Imamura chose this song because she liked the lyrics so much and felt that they fit the message she was trying to get across with her film.  [It did not come up in the Q+A but I should note that Kazuhiro Kojima wrote the song “Not Alone” for the survivors of the Tōhoku disaster so its meaning resonates quite deeply for a Japanese audience (See: Vimeo).  Kojima is also the male narrator of the film.]
  • Imamura’s film training in the States was actually on film, so she taught herself how to use digital technology. 
  • Imamura expressed her fear of communicating with people who do not know how to sign.  Through her documentaries she has learned from other members of the deaf community about how to overcome these fears.  In particular, she mentioned how inspirational Tatsuro Ota, the surf shop owner who was the subject of her documentary Coffee and Pencil (珈琲とエンピツ, 2011) has been to her in the way that he builds communication bridges between himself and his hearing customers. 
  • Imamura’s current documentary project will profile a deaf family. 


Interview with Ayako Imamura


After the Q+A at Nippon Connection 2014, I had a chance to interview Imamura with the assistance of American ASL interpreter Joanna Martin who was flown in from Berlin for The Connecting Bridge’s German premiere.  You can see the amazing Joanna at work on YouTube interpreting an event with Berlin-based American author Michael Lederer into DGS (German Sign Language / Deutsche Gebärdensprache).  Imamura’s mother was also on hand for assistance with JSL (Japanese Sign Language /日本手話 / Nihon Shuwa).  15 years ago, Imamura spent a year studying filmmaking in the States and learned ASL while she was there (there were no courses in ASL available to her in Japan at that time).  She teaches at a school for the deaf in Japan which has close ties with a school in Manitoba (Anglophone Canadians also use ASL).

Having grown up in Canada with co-workers and Easter Seals campers whose primary language was ASL, I was full of questions for Imamura about the differences between North American and Japanese deaf culture.  Some interesting facts:
  • Japan was slow to introduce universal education for its deaf population.  As a result, many elderly people did not learn to read and write or to do standard JSL until later in life.  Although Imamura was fuzzy on the dates, she had the impression that until about 30 years ago it was challenging for deaf people to receive a full education. 
  • When Imamura went to university, it was difficult for her to get assistance with note-taking, etc.  This was in stark contrast to her experience at California State University, Northridge, which has a strong deaf community (they are home to the National Center on Deafness).  Her experience in the United States seemed to inspire her to fight for more rights in Japan.  I noticed on the website of the Japanese Federation of the Deaf that sign language did not get officially recognized as a language by the Japanese federal government until 2011!! 
  • When Imamura was growing up in the 1980s, closed captioned was not yet available for the deaf community.  As a result, she was bored by anime and other television series because she did not understand what was going on.  Her saving grace was the introduction of video technology.  Although most foreign films and series shown on TV in Japan are dubbed, they have a subbing culture for cinema.  Imamura’s father picked up E.T. (1982) from the video store for her when she was little and she loved it.  Her early movie education was mainly foreign films because they were the only ones with subtitles when she was growing up.  The irony was not lost on Imamura that her native land’s movie and television culture was foreign to her because they did not use closed captioning.
  • Modern technology (e-mail, text messaging, etc. has made communication between the deaf and hearing communities a lot easier but there is a major generation gap for elderly people who find new technology challenging.   Many of them still use faxes for long distance communication. 
  • It was clear from the context in The Connecting Bridge that Imamura would have come into contact with the stories of many of the Miyagi Deaf Association’s 363 members, so I asked her how she selected which people to use in the documentary.  She told me that she focused on the stories of survivors.  A lot of deaf people did not survive the disaster and the grief of their families was too fresh for her to intrude on their lives.  There were also many survivors who felt uncomfortable with the presence of a camera / a stranger documenting their difficult circumstances.  So, the people that feature in the films were the ones who opened themselves up to Imamura --- I could really feel when watching the film that the director came to care for the individuals she was recording, and that this friendship would likely continue after the film was done.
  • The subtitles are very prominent in this film.  Imamura chose white with black outline for the narrator.  Blue with white outline is used when men are speaking and red with white outline when women are speaking. 

The Connecting Bridge: 3/11 That Wasn’t Heard
架け橋~聞こえなかった3.11
Kakehashi - Kikoenakatta 3.11
Studio Aya, 74 min.


Catherine Munroe Hotes 2014


11 June 2014

RongRong & Inri’s "Tsumari Story" at Mizuma Art Gallery



June 11 (Wed.) - July 12 (Sat.) 2014/ 11:00-19:00
closed on Sun. Mon. and Holidays

Opening this evening, Mizuma Art Gallery is presenting a solo exhibition of the Chinese-Japanese artistic team RongRong & Inri (荣荣和映里). 

RongRong (b. 1968) is a Chinese photographer from Fujian Province who made a name for himself in the 1990s for his portraits of life in the East Village of Beijing.  Inri (b. 1973), who is from Kanagawa, began her career as a portrait photographer for a Japanese newspaper before pursuing an independent career starting in 1997.  Since meeting in 2000, this husband and wife team have become known for their collaborations together. 

RongRong & Inri are based in Beijing but have exhibited their work together worldwide. In 2007, they established the Three Shadows Photography Art Centre in Beijing’s Caochangdi District - the first private art centre in China dedicated to photography. They continue to be at the centre of Beijing’s photographic art world.  For example, since 2010 they have been organizers of the Caochangdi PhotoSpring Festival in collaboration with Arles International Photography Festival in Southern France. In recent years they have also held numerous exhibitions in Japan: they held a solo show at Shiseido Gallery (2011), participated in the Echigo-Tsumari Art Triennale (2012), and their works have also been acclaimed as part of last years ‘LOVE’ exhibition at the Mori Art Museum and in the collection exhibition of Tokyo Metropolitan Museum of Photography.

This exhibition will revisit work shown in 2012 at Echigo-Tsumari, with the addition of new pieces created this year. In Tsumari Story they will use experimental forms of prints to exhibit their work. If one compares the location of Tsumari in Niigata Prefecture, adjacent to the Sea of Japan, this is a region markedly different to the Pacific Ocean side of the country. Perhaps because its transport network was comparatively late to upgrade, it has somewhat escaped the homogenization effected by globalization. Even today, the unique characteristics of its culture remain prominent. During its long winters, large volumes of white snow may totally cut off road access. There, time flows according to its own rhythm, allowing for the creation of unique stories.

It has been suggested that the origin of the name of this mountainous region of Niigata lies in the phrase “dontzumari” (meaning ‘dead end’, or ‘impasse’), which takes it beyond a place name to being an aspect of Japanese culture - or possibly a symbol for the whole of Japan, existing as a chain of islands surrounded by the sea. “It is only once you have escaped everything and you reach the final impasse, that you find the love you were searching for”: this artwork was created in a place in which such folklore as this remains.  As such, in today’s ever-shrinking world of increasing homogenization, perhaps this work bears the power to leave behind a unique and deep impression.

In the encounter of a man and woman and their children, RongRong & Inri’s photographs have at the centre of their creative process “the circle of life”.  Within their tales, perhaps we may feel a premonition of the future that is to come. In this age of growing awareness of the land on which we live, the Mizuma Art Gallery warmly invites you to view the exhibition of RongRong & Inri’s story.

This post is an edited version of a press release by Mizuma Art Gallery.  For more on Rong Rong & Inri see their profile on Art Speak China.


cmmhotes 2014

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