07 April 2016

Kasa Jizō (かさじぞう, 1960)



Kasa Jizō (かさじぞう, 1960) is a black and white puppet animation by Gakken, who are celebrating their 70th anniversary this year.  This short film was produced by Haruo Itoh (伊藤治雄) and directed by Kazuhiko Watanabe (渡辺隆平).  Along with his Gakken colleague Matsue Jinbo, Watanabe is one of Japan’s puppet animation pioneers.  He is not as well known as Tadahito Mochinaga, Kihachirō Kawamoto, and Tadanari Okamoto, but hopefully Gakken’s decision to make his work available on YouTube during their 70th anniversary celebrations will boost his profile.   Disc 10 of Kinokuniya’s Japanese Art Animation Film Collection: 12 Volume Set also features Watanabe’s work including The Town Mouse and the Country Mouse (1959), Princess Kaguya (1961), The Jakata Tale of the Golden Deer (1962), The Tale of the Crane (1965), The Little Match Girl (1967).



Kasa Jizō is adapted from the traditional Japanese folk tale (日本むかし話) of the same name (笠地蔵).  There are several regional variants of this story, but the one chosen by Gakken is the most common.  It is set in the winter a long time ago in rural Japan.  An elderly couple are doing chores in their thatched house.  New Year’s is the following day, but they are running low on rice.  The elderly man decides to head to town to sell some of his handmade kasa (woven straw hats) so that may have enough rice to celebrate Shōgatsu (the New Year).  The wife helps her husband to dress for the snowy conditions on the long trek to town.


Along the way the elderly man stops to pay his respects to a row of Jizō (the Japanese version of Ksitigarbha, the bodhisattva usually in the form of a Buddhist monk).  The snow continues to fall heavily.  After a while, the man passes by the Jizō again on his return from town, trudging slowly and steadily through the deep snow.  It occurs to him that the Jizō must be getting cold in all this snow, so he puts his remaining kasa on their heads.  He discovers that he is short one kasa and decides to donate his own kasa to the last Jizō.

The elderly man returns to the comfort of the wood burning fire of his hearth.  His wife is patiently sewing.  He is covered with snow.  As he is hat-less, his eyebrows and the small tufts of hair above his ears are full of frost.  His wife asks about the kasa and the man is tells her about the Jizō.  She agrees that he did the right thing and they laugh cheerfully together. 

There is a lovely cutaway to a full moon glowing between the trees to indicate that night has fallen.  The camera pans over curious prints in the snow and male voices can be heard singing in the distance.  The singing awakes the couple and they sit up on their futons.  The man sees the shadow of men wearing kasa passing the window.  The volume of singing increases and their door opens.  To their shock, gifts come flying through the door.  To show their gratitude, the Jizō have brought supplies for the New Year.

The animation tells the story in a straight-forward manner with a couple of overhead shots and interesting shot compositions.  It appears that the film has been transferred from 16mm to digital without restoration (and possible via a video copy first) so some of the scenes are lacking in sharpness.  I really enjoy the character design of the elderly couple.  They are depicted as cheerful and sympathetic, in spite of their penniless circumstances.  It is a lovely tale for sharing with family over the New Year holiday. 


2016 Cathy Munroe Hotes

The Dove and the Ant (ありとはと, 1959)



The Dove and the Ant (ありとはと / Ari to Hato, 1959) is a short animation adapted from the tale of the same name from Aesop's Fables (イソップ寓話).  It was released in the United States in 1962 by Coronet Instructional Films under the title The Ant and the Dove.  The Japanese translation of this fable traditionally puts the ant first in the title, but in English it is more common for the dove to be named first.  Coronet went with the literal translation of the Japanese title, but I prefer to use the standard English title of the fable.


A narrator tells us that this story takes place in a forest.  With a cheerful soundtrack melody in the background, a cute little ant wearing a hat is rolling a coin back to his hole. Exerting some effort (“Yoisho! Yoisho!”), he rolls the coin into a long tunnel that looks like it has been decorated with graffiti by a child.  He eventually adds the coin to a pile of loot in his living room and goes back outside in search of more treasures. 

The ant encounters a snail and takes a ride on its back.  The snail climbs a tree stump where the ant discovers a dragonfly.  The dragonfly takes the ant for a ride.  They pass by the dove and the ant calls out a greeting “Hato-san konnichi-wa!”  Suddenly, he slides off the dragonfly and lands in the water.  The ant cannot swim and calls for help.  The dove hears the ant’s cries and flies to help.  Along the way, the dove picks a leaf which she drops near the ant.  The ant crawls on the leaf and floats to safety.  The ant calls out his thanks.


No worse for his adventure, the ant returns to collecting treasures.  The next day, a hunter is spotted in the forest.  He shoots at a tree and has an apple fall comically onto his head.  Curious and concerned, the ant follows the hunter’s every move.  He suddenly realises that his friend the dove, who is sleeping in the tree, is in danger of being shot.  He grabs some tweezers and runs up the body of the hunter.  The cry the hunter makes when the ant plucks one of his leg hairs startles the dove who flies to safety.  The ant is relieved and skips his delight as the hunter leaves disappointed.  The tale ends happily.  The final curtain is of grass, with a ladybug in the foreground for good measure. 

This animation was produced by Shinichi Kanbayashi (神林伸一) and directed by Kazuhiko Watanabe (渡辺和彦).  The technique used is stop motion using cutouts and 2D puppets.  The Gakken version adds more wildlife to the forest scene (the snail, the dragonfly), likely in order to teach children about forest wildlife.  Insects are a popular theme for all ages in Japan, and preschoolers learn about them at an early age.  My children’s nursery school in Tokyo had a pet beetle in the classroom, for example.  No credit is given onscreen for the narrator, but I had the impression that one female voice did both the ant and the narration.  It is a sweet film, suitable for a preschool audience.  The “shots” fired by the hunter are only implied not actually heard, so it is unlikely that children would be disturbed by this tame portrayal of hunting. 

2016 Cathy Munroe Hotes


04 April 2016

30th Image Forum Festival 2016



The cherry blossoms are in full bloom in Tokyo, which means the latest edition of the Image Forum Festival is fast approaching.  It begins April 29th at its home at the Image Forum Theatre in Shibuya and runs until May 6th.  The festival will then tour the country until mid-July so check out their website for locations near you if you live in Japan.

As usual, the programme features a diverse range of the weird and the wonderful from far and wide.  Some of the highlights of this year include The Guillaume Nicloux’s comedy-drama The Kidnapping of Michel Houellebecq (L'enlèvement de Michel Houellebecq / ミシェル・ウエルベック誘拐事件, 2014), starring the notorious author himself, and Andreas Horvath’s acclaimed documentary Helmut Berger, Actor (俳優、ヘルムート・バーガー, 2015) about the Austrian actor who worked so closely with his partner Luchino Visconti in the 60s and 70s. 

In terms of animation, there is a wide selection of Japanese artists’ works from the 1990s, 2000s and 2010s on offer.  There are also programmes highlighting the animation of other Southeast Asian countries under the umbrella “Anime-Asean” including selections of animated shorts from Singapore and Indonesia.  In my opinion, the “must-see” programme is “Japan Tomorrow” (ジャパン・トゥモロウ) which showcases these recent avant-garde animation and experimental works by Japanese directors:


To  Heel (愛のかかと / Ai no kakato, 2016)
Madoka / 円香 (Geidai 2016 grad)


affordance
Hayato NOVE / 野辺ハヤト (website)


and, end (えんえん / En En, 2015)
Mio YAMANAKA / 山中澪 (Geidai 2015 grad)



Don’t  Tell Mom (おかあさんにないしょ, 2015)
Sawako KABUKI / 冠木佐和子


Clickety-Clack Film “High-speed Express”
(快速急行ガタゴトフィルム /  Kaisoku Kyūkō Gatagoto Firumu, 2015)
Kenta NOMURA / 野村建太 (Tokyo Eizo Brig.)


Datum Point (水準原点 / Suijun Genten, 2015)
Ryo Orikasa / 折笠良 (website)


Schizophrenia (スキゾフレニア, Sukizofuzenia, 201)
Yuri MURAOKA / 村岡由梨 (website / vimeo)



Chocolate Cake and Hōryū-ji
(チョコレートケーキと法隆寺 / Chokorēto keki to Hōryū-ji, 2016)
Keita MUKAI / 向井啓太


Nothing You Need to See
(何も見なくていい / Nani mo Minakute ii, 2015)
Keigo Itō /  伊藤圭吾 (Jury Selection JMAF 2015)


Haha yo, Anime wo miyou  (母よ、アニメを見よう, 2015)
Shun ABE / 阿部舜 (tumblr)



Pyramid (PYRAMID-破壊の記憶の走馬灯 / Hakai no Kioku no Sōmatō, 2015)
Shin SASAKUBO / 笹久保伸 (website, twitter)


Marginal Man (マージナルマンのトーソー / Mājinaruman no tōsō, 2016)
Rei KAWAKITA / 川北玲 (twitter)


Mayumi (まゆみ , 2015)
Chinami TANIGUCHi /  谷口ちなみ  (tumblr, twitter, vimeo)


Watashi niwa Mirai ga aru (私には未来がある, 2016)
Rieko OUCHI /大内りえ子 (website)


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