21 April 2012

Ichi-gwankoku: The One-Eyed Country (一眼国, 2009)


Children watch the freak show.

The animator Ryo Hirano has a love of the grotesque and the absurd, from the yōkai manga of Shigeru Mizuki to the independent animation of Igor Kovalyov (see his interview with Public Image)  Hirano’s animated short Ichi-gwankoku (The One-Eyed Country, 2009) was inspired by the rakugo story of the same name Ichigankoku (一眼国 --- Hirano just chose a different Romanization method for the title). 

Rakugo (落語) is a traditional art of comic storytelling which dates back many centuries.  Many of the classic rakugo tales contain elements of the grotesque.  One well known example to fans of indie animation is Atama Yama (Mt. Head), which Kōji Yamamura adapted in 2002 and tells the tale of a stingy man who has a cherry tree grow out of his head. In the popular story Ichigankoku, the owner of a freak show hears from a travelling priest about the existence of a country of one-eyed people.  He sets out immediately for this land in the hope of capturing a one-eyed child to bring back and use in his show.  However, the tables are turned against him when he comes to the land of one-eyed people, for he himself is captured because he has two-eyeds and is caged and put on display as a freak himself.

Hirano captures the absurdity of the story right from the get-go with a one-eyed chicken who is almost run over by the freak show vehicle and the stampede of children that follow in its wake.  The caged two-eyed man is humiliated even further in his cage because he is naked and shivering.  Not only do the one-eyed children stare at the man in shock, but they also cruelly throw things at him and laugh at his plight.  In a further act of violence, the freak show owner whips the naked man

Collage of drawn and photographic elements
In contrast to this dark, violent scene, a priest and a caged tanuki are sleeping at a roadside shrine.  The tanuki –creatures famed for their powers of transformation – delightedly captures a falling ginkgo leaf and uses his magic to escape from the cage.  From his covered cage, the two-eyed man peaks through a crack in the curtain to observe the one-eyed world around him and spots the tanuki walking by with a leaf on his forehead.   

The man’s view abruptly comes to an end when he is further abused by passersby.  He is knocked unconscious by a can to the head and has a vision of a terrifying giant three-eyed creature.  He runs from this giant but is easily captured and the giant pulls one of his eyes out of its socket.  When the man awakes, he discovers that he now has only one eye.  His eye, with an odd tail wiggling like a fish out of water, stares at him from the other side of his cage.  He tries to capture the eye, but it escapes.  He looks out the window and sees the tanuki with the gingko leaf has captured his wayward eye on stick and is licking it like a lollypop.  The poor naked man sits in disbelief at his fate, scratching his head.

A mix of European and Japanese cultural influences - but they somehow seem to fit this strange land.

If it weren’t for the Japanese elements to this story (tanuki, the Jizō bodhisattva statues, etc.), I might have thought it was by an Eastern European animator because of the look and feel of the piece.  What really makes Hirano’s work stand out from other young animators is his fearless use of collage and mixed media.  Photographic images are layered with drawn images in unexpected and interesting ways. 

Whereas the original rakugo story is amusing because of the irony of the fate of the freak show owner, Hirano shows a different side to the story that shows the value of the story to modern audiences.  We as an audience can scratch our own heads along with the old man and wonder if it is better to be one-eyed and fit in with the others or to remain oneself in the face of violence and cruelty. 


Catherine Munroe Hotes 2012

Watch the film for yourself on Hirano's official Youtube channel.

Learn more about Ryo Hirano on his official website.

Filmography

2007  udara udara (うだらうだら)
2008  Future Man (蟻人間物語/Ari Ningen Monogatari)
2008  Midnight Zoo (深夜動物園/Shinya Dōbutsuen)
2009  music video orchestra (collaborative work for Omodaka)
2009  The Kappa’s Arms (河童の腕/Kappa no Ude)
2009  Ichigwankoku / One-Eyed Country (一眼国/Ichigankoku)
2009  Guitar (ギター)
2010  Kensaku Shōnen (検索少年, Tabito Nanao music video)
2011  Hietsuki Bushi (ひえつき節/Omodaka music video)
2011  Space Shower TV Station ID
2011  Holiday (ホリデイ)





Future Man (蟻人間物語/Ari Ningen Monogatari, 2008)




Future Man (蟻人間物語/Ari Ningen Monogatari, 2008) is Ryo Hirano’s second animated short.  The Japanese title literally translates as “Ant-Human Story”.  While a student at Tama Art University, his class was assigned a project in which they should make something about living beings.    In preparation for this film, he read up on ant ecology and used this knowledge as the basis of his film.  According to Yuki Harada’s interview with Hirano on his website Public Image last summer, one of the details that struck Hirano as being remarkable was that scientists who study ants found that their behaviour is not driven by sympathy or love for the ant queen but that it is the drive to maximize one’s DNA.   My biologist husband tells me that this is the evolutionary theory that Richard Dawkins famously put forward in his book The Selfish Gene (1976).

In Future Man, Hirano substitutes humans for the ants.  Naked male figures with Frankenstein-esque square-shaped heads gather supplies for the colony to the strains of Strauss’s The Blue Danube.  They need to defend their food stores from himizu (Japanese Shrew Moles) whom they also kill and consume.  Inside the colony, Hirano depicts drones caring for infants, and small children fighting over himizu meat like dogs.  At the centre of it all is the corpulent body of the queen ant-human who smiles benevolently at her drones. 

The tranquil scene takes a dramatic shift when a monster with sharp teeth at the end of long tentacles attacks the colony.  The drones react in a panic, but the queen ant-human remains tranquil until she is directly attacked.   At the end of the film, the colony lays in ruins, with bodies strewn everywhere.  The only glimmer of hope is an infant who crawls into a beam of sunshine and stares up at birds flying in a peaceful blue sky.  The image then expands upwards out of the colony all the way into the universe where decaying relics of satellites and spaceship circle the planet earth.  If one looks at the planet earth from outer space, the human race is really not so unlike a colony of ants.  Although we do fancy ourselves the greatest species on the planet, we are really just small specks of dust in the vastness of the universe.

Watch the film for yourself:


Learn more about Ryo Hirano on his official website.

Filmography

2007  udara udara (うだらうだら)
2008  Future Man (蟻人間物語/Ari Ningen Monogatari)
2008  Midnight Zoo (深夜動物園/Shinya Dōbutsuen)
2009  music video orchestra (collaborative work for Omodaka)
2009  The Kappa’s Arms (河童の腕/Kappa no Ude)
2009  Ichigwankoku / One-Eyed Country (一眼国/Ichigankoku)
2009  Guitar (ギター)
2010  Kensaku Shōnen (検索少年, Tabito Nanao music video)
2011  Hietsuki Bushi (ひえつき節/Omodaka music video)
2011  Space Shower TV Station ID
2011  Holiday (ホリデイ)




Another Glimpse at the Yayoi Kusama documentary Princess of Polka Dots


Filmmakers Heather Lenz and Karen Jonson are sharing another glimpse at their documentary in progress Kusama: Princess of Polka Dots which examines the life and career of the extraordinary artist Yayoi Kusama.  Today they posted a new video on Youtube:


This 7-minute clip was put together for the Kusama retrospective at the Tate Modern in London (9 February – 5 June 2012).  I have been impatient to see this film since I first discovered their 2007 trailer:


However, it would seem that they are still trying to raise enough tax-deductible donations to cover the costs of archival image licensing and the cost of post-production.  You can support this promising documentary by donating money here.  If they can secure financing they hope to get the film out to festivals sometime this year.

I also learned this week through a posting on Brainpickings that Kusama has illustrated Alice in Wonderland.  A brilliant pairing of art and fiction which has gone directly onto my birthday wishlist for this year:








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