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[christinaklassenjpt3391]

4/22 Blog

We start (and finish) our last week of class by watching the animated film “Spirited Away” by Miyazaki Hayao. Although some people say this movie is overrated, I personally really like it and have seen it many times. I love the animation and soundtrack for all of Miyazaki Hayao’s films, but I especially like the soundtrack in “Spirited Away”. At its core, "Spirited Away" is a coming-of-age tale that follows the adventures of Chihiro, a young girl who becomes trapped in a mysterious and magical world. When her parents are transformed into pigs after indulging in food meant for spirits, Chihiro must navigate this magical world to find a way to save her parents and herself. One of the film's central themes is the journey of self-discovery and resilience. As Chihiro navigates this strange world, she undergoes a transformation from a shy and whiny girl to a brave and determined young woman. Her encounters with various characters, including the wise witch Yubaba and the selfless river spirit, teach her valuable lessons about empathy, courage, and the importance of staying true to oneself. Chihiro's journey is one of growth and empowerment, a universal narrative that resonates with audiences of all ages. It reminds us that even in the face of adversity, we have the strength within us to overcome challenges and emerge stronger on the other side. Another theme present in “Spirited Away” is environmental concern. Miyazaki's deep connection to nature is evident throughout "Spirited Away," and the film does not shy away from addressing environmental themes. The polluted river spirit, covered in sludge and debris, serves as a symbol of the consequences of human negligence. Chihiro's act of compassion and selflessness in helping the spirit cleanse itself leads to a powerful moment of rebirth and renewal. This scene is a reminder of our responsibility to care for the environment and the importance of living in harmony with nature. The polluted river spirit's transformation is a hopeful message that change is possible, but it requires empathy and action. At the same time, the film offers a critique of capitalist society and consumerist culture through the characters of Chihiro's parents and the workings of the bathhouse. Chihiro's parents are transformed into pigs after indulging in food not meant for them, symbolizing how consumerism can turn individuals into greedy, thoughtless creatures. This theme resonates strongly with today's society, where consumerist culture seems to be spiraling out of control, amplified by the influence of social media. Every week, new products go viral online, prompting people to rush out and purchase them, only to discard them when the next trend emerges. This cycle not only leads to wastefulness but also has detrimental effects on the environment.

[christinaklassenjpt3391]

I thought your observation on how the film is commentary on how young people/ younger generations cope with hardships. I also liked your analysis on the specific quote you mentioned and how it speaks to the collapse of the traditional/old structures and the maturation of the young into adulthood.

Miike - Sukiyaki Western Django

This movie honestly doesn't even feel real to be honest. Despite being a clear parody of western films, I truly didn't stop caring until Piringo shows up again in the movie. His reasoning for naming his son Akira really took me out of the movie. It's weird because although it's a parody, I was still engrossed in the movie until that line. I can't really tell if the movie wants to be serious or not, or if it even cares after that line.

So the movie draws two very obvious inspirations for it's setting, the Genpei War and western films. The Genpei War is something way too complicated to cover, but the movie tells us the important parts: two feuding clans, the Heike (also known as the Taira) and the Genji (also known as the Minamoto) clash for power over Japan. These clans originated from members of the imperial family, making them relatives actually. But history is wack, and after a couple of rebellions and plotting, the Genji win like in the film and the leader at the time, Yoritomo, became the first shogun. After that, I guess you could say it didn't matter what clan you belonged to like in the film, but the Genji really hit big as many of the influental clans from thereon would claim to be descended from the Genji. There wasn't a continuation to the feud like in the film, so that's where the pseudo-western Genpei sequel comes in. More importantly, most characters are actually named after important figures in the war. Yoshitsune is obvious, but Yoichi and Shizuka also take their names from historical figures. Particularly, I think Shizuka follows a similar fate to her historical counterpart, being a mistress to Yoshitsune and having her son taken from her and given to her mother.

The influence of the western film genre is also equally, if not more, important to the context of the film. The nameless cowboy is literally textbook western after all. However, it's not a traditional western story is it? I'd say Miike actually takes more inspiration from Spaghetti Westerns for the structure of the film. I think we may have covered it a bit but Spaghetti Westerns are European-made western films, named that way because they usually made by Italians. Spaghetti Westerns both are actual western films and take jabs at traditional tropes and structures. This movie takes this to the extreme while still sticking to the usual structure. The outsider comes in, saves the problem, the leaves. Also, Akira is later named Django, the name of many Spaghetti Western protagonists. Thinking about it now, the poor kid was known as the names of two influential film characters.

Although this one I'm not so sure about, I think the film is a commentary on young people/new generation's method of coping with hardship through coping. Throughout the film, we hear numerous times the quote of the Gion Shoja bells, which is a real quote from the Heike Monagatari, a epic telling of the Genpei war. Side note but for some reason MIT has an entire webpage dedicated to the quote: https://web.mit.edu/norvin/www/somethingelse/heike.html

Anyways, the important thing is that the quote notes how all things must one day pass, that even the strong will fall, and no pride or strength is meaningful against the power of time. Seems a bit sad at first, but I think both the quote and the film try to frame it in a hopeful note. Particularly at the end with the conversation between cowboy and Akira, I believe Akira is supposed to be a representation of the newer generation. Throughout hardship, he shuts himself out from the world to run away from the pain like many young people use escapism to cope (like the internet); he loses his voice at the horror of his father's murder, which could symbolize the death of the patriarchy a.k.a. collapse of traditional societal structure. The voice could also be a literal representation of people's ability to speak out about issues and change. The quote of the bells is then both speaking about the collapse of the things that came before and the maturation of the young into adulthood. But that it is also important that it is not without choice for that to happen.

Also i want to point out that he's taking a fistful of gold as a reward. Gold is money a.k.a. this is just a Fistful of Dollars reference.

[christinaklassenjpt3391]

4/17 Blog

Takashi Miike's "Sukiyaki Western Django" is a film that merges the stylized violence of spaghetti westerns with the aesthetic of Japanese samurai films. "Sukiyaki Western Django" is a story centered around rival clans vying for dominance over a remote town in the Wild West. Inspired by Sergio Leone's spaghetti westerns, the film shows morally complex characters, thrilling shootouts, and a barren landscape that sets the stage for the unfolding conflict. Director Takashi Miike adds a unique twist by incorporating Japanese influences, referencing historical figures like the Genji and Heike clans, and paying homage to classic samurai cinema. I didn’t pick up on a lot of themes in the movie, but I did like how it challenges traditional notions of heroism. The film presents us with characters who are morally ambiguous and often motivated by self-interest rather than altruism. The nameless gunslinger, for example, is a complex anti-hero whose actions are driven by a mixture of survival instinct and personal vendettas. By subverting the archetype of the noble gunslinger, Miike invites viewers to question the nature of heroism and the thin line that separates bravery from recklessness. I prefer this archetype because it feels more realistic and explores human complexity compared to showy superhero narratives such as the Avengers. I thought one of the most striking aspects of "Sukiyaki Western Django" was its visual style. One of the standout features of the film is its use of vibrant colors. Miike employs a rich color palette that brings each scene to life. Whether it's the warm, golden tones of a sunset or the bold, vivid colors of the characters' costumes, the colors pop off the screen, adding depth and vibrancy to the film. Another aspect of the film I liked was the costumes. Drawing from both Western and Eastern influences, the costumes are intricately designed and visually captivating. From the elaborate robes of the clan leaders to the rugged attire of the gunslingers, each costume reflects the character's personality and adds to the film's immersive atmosphere. While this wasn’t my favorite movie, I thought it was interesting how the film was able to blend two iconic and stereotypical genres: the American Western cowboy and the Japanese samurai film. One of the most obvious examples of this blend is the film's title itself, which references both Japanese cuisine (sukiyaki) and the American Western genre (Django). At its core, the film pays homage to the classic tropes of the Western genre—cowboys, saloons, and dusty frontier towns. However, Miike includes these familiar elements with a distinctly Japanese aspects, setting the story in a stylized version of the Wild West that is heavily influenced by Japanese culture and aesthetics.

[christinaklassenjpt3391]

I agree with your take that while the message of the film may seem repetitive because there are many movies that may have a similar lesson, it's a good thing to be reminded to enjoy life and spread kindness. Like you mentioned, I also feel like as a busy college student, I often forget to stop and appreciate the small things.

Sweet Bean

Going from horror to this film was an absolute trip and a half but at the same time that’s what’s great about cinema and how the two can coexist with one another. But to start getting into the film I just wanted to say how crushing it was to see Tokue be fired from the job purely because of her past with leprosy. This kind older woman reminded me a lot of my grandmother so it made me think a lot about her throughout and I’m happy I still have her around but I can’t imagine not knowing I could visit her or she didn’t get to do everything she wanted to do in life. The ending of Tokue saying that she was just happy for the time that she got to spend doing what she liked made me really sad and grateful for the time I have on earth as well. It sounds kind of cheesy but I truly do feel this way as I really do think this movie had some good messages about enjoying the place you are in even if it may be hard. Especially as a college student the world can seem caving in on you sometimes but you have to take a step back sometimes and realize it's not all about me and there’s more to life than this. Do what you want to do in life and enjoy it, it will take effort and lots of hard work to get there but at the same time that’s something to look forward to. I really liked this film a lot more than I expected to and I think these types of films get overlooked a lot because there is quite a few of them that may teach the same message over and over again but at the same time why is it a bad thing to learn the message of kindness and to enjoy life necessarily a bad thing. My one negative to the film though however was the inclusion of the school girl because I think she did have some importance to the overall story but at the same time I just felt like she wasn’t absolutely needed and was more brought in to just move the story along and find story details out which is yeah I guess understandable but at the same time it just seemed unneeded, I don’t know. Overall, this was a nice palette cleanser before getting to the final films of this semester but it’s nice to feel all kinds of warm inside after a film after feeling kind of hopeless after the last two films and especially after watching those god awful American remakes. So, definitely go watch this film.

Grade: B

[christinaklassenjpt3391]

4/15 Blog

I enjoyed watching the film “Sweet Bean” by Naomi Kawase and was glad we watched it since it’s been on my movie list for some time. Although some people might find it cheesy and predictable, I think its themes are still very relevant and the film has a touching message. In the midst of our busy lives, it's easy to overlook the beauty found in everyday moments. “Sweet Bean” captures the essence of these small joys, creating a touching story that explores human connection, redemption, and the power of acceptance. The film revolves around three main characters: Sentaro, a reserved dorayaki shop owner; Tokue, an elderly woman with a mysterious past and a special recipe for red bean paste; and Wakana, a troubled schoolgirl searching for meaning in her life. Through their interactions, Kawase paints a picture of human relationships that transcends cultural boundaries, resonating with all viewers. I thought a really sweet part of the film was the depiction of the art of dorayaki making. As Sentaro reluctantly hires Tokue to help in the shop, their shared passion for perfecting the delicate balance of sweet bean paste and pancakes becomes a metaphor for the complexities of human connection. Through the process of making dorayaki, the characters find solace, healing, and ultimately, redemption. While the movie displays lighthearted themes, it also delves into deeper themes of prejudice and stigma surrounding disabilities. Tokue carries the weight of Hansen's disease, also known as Leprosy, which is a condition that has isolated her from society. Throughout the film, Tokue's portrayal sheds light on the harsh realities faced by individuals afflicted with Hansen's disease in Japan, where deep-rooted stigma and discrimination persist despite medical advancements. Yet, despite facing discrimination, Tokue shows a quiet strength that challenges the audience to confront their own biases. As the bond between Sentaro and Tokue grows, "Sweet Bean" becomes a meditation on the passage of time and the importance of cherishing every moment. Tokue's wisdom and optimism inspire Sentaro to embrace life's imperfections and find beauty in unexpected places. It's this journey of self-discovery that forms the emotional core of the film, leaving a lasting impact on viewers. In a world often consumed by materialism, "Sweet Bean" serves as a gentle reminder to slow down and appreciate the simple pleasures in life. Through its heartfelt storytelling, the film invites viewers to savor each moment and find joy in the connections we share with others. This message means a lot to me because sometimes I feel like I’m rushing through life and not taking the time to enjoy the little things or make time for hobbies. This film makes you think about how you approach life and encourages the audience to slow down and enjoy the time and connections we have.

[christinaklassenjpt3391]

I liked your observation about people seek the internet in an attempt to connect with others and how this relates to Pulse. When people fail to form connections in real life they usually resort to talking to people online but these connections are often times fake and superficial, leading to even deeper feelings of loneliness. Pulse shows this side of technology by showing how it sucks lonely people in and makes them even more isolated from the real world.

Pulse

I don't watch a lot of horror movies and most of the ones I do are tied to some awful evil or crime made incarnate as a monster. Sadako, Chuckie, and Jason are all examples of horror I'm used to. Therefore, the existential horror, the epidemic of loneliness, presented in Pulse was incredibly thought-provoking and closer to home in a way that makes it more terrifying. I admit I don't think I was touched by this movie as other people would be because of some unique experiences. Despite that, I genuinely appreciate how the film sensitively depicted the crushing despair and resignation that loneliness causes. Loneliness is both the creeping sense of total despair and fear of an inevitable future (whether it's true or not) and the depressing resignation - as if the world has just ended - as you decide it's totally hopeless. When I'm thinking about this film, I adore it.

Initially, I thought the screens depicting people wandering around their rooms or killing themselves were "ghosts" of people or memories they left behind that continue to haunt the living. This includes both the people who care about them and the strangers stumbling upon these relics of dead people. It's like seeing old forum posts from years and years ago and wondering where those people might be or if they're even alive. To see these screens, along with the "help me" plea, seemed just like cries for help and I don't think I'm entirely wrong. Everyone in the film, the best example being Harue who seems to have scrawled "help me" over the walls of her bedroom, want to be helped from their loneliness. They always fail to feel connected to someone no matter how much time they spend with someone else in person.

This failure to connect with people is obviously tied to technology in some way. In the beginning, Taguchi seems locked to his room. The mood change is instant when we move from what is a cloudy day outside, full of people and plants, to his room that seems like it's always night in there. The curtains are drawn, the lamps are on, and there's a coffee cup on the table that implies he's been living all-nighters every day and every night. Initially, I thought the film might have shown its hand too early: People seek the internet in order to connect with people because they can't reach people in the real world. It turns out that these connections are just as fake and in despair we flee the world of the living. Therefore, the true answer is that we have to grit our teeth and stay connected to the real world, you know? After all, you can't ever reach anyone by phone either and even if they answer, they can only ask for help without trying hard to receive it or they just shrug you off. Just like real life. Do you remember the boss of the flower shop saying something similar? Friends say wonderful things during the good times, with the best of intentions, and it only hurts the people they're trying to reach. That is, the message seemed exceedingly pessimistic not only about one's own effort to stay connected but also about technology. I'm… still not THAT wrong in the end.

That's why I feel conflicted about the possible reason for the disappearances was "ah, you see… the other realm is just overflowing with ghosts. It can't be helped, you know?" Not only does it sound like a conspiracy theory but it's one that turns out true as people disappear the world over. An actual apocalypse caused by ghosts! However, it does seem to tie in neatly with the idea that through technology, people (or in this case ghosts) take advantage of other people's loneliness. It's a common story. Catfishing is just one example.

About the real world crisis, the segment in which a TV is naming all the people who have disappeared hit me the most. Not only young or middle-aged people but the elderly and kids are named too. No matter the age or reason or past, loneliness can affect anyone. Loneliness is an epidemic. Of course I don't disagree. Just saying "we all die alone" is a terrifying statement generally and there are people who dream of dying surrounded by loving family. Not just loneliness but death too is a topic people feel strongly about.

That seems to be the core of Kawashima's narrative. Throughout the film, he refused to confront death to the point that he blabbered on about being able to live forever once people make a miracle drug to Harue. He doesn't want to think about death he says repeatedly. Then he is forced to confront death in that forbidden room, made to hear Death speak to him, and to touch it physically. That is, death comes for us all and we have no choice but to confront it. If we are lonely in life, we are lonely in death, Kawashima only got so far because he never seriously considered death and always ran away from it. I have to be honest. I think everyone in this film is a bit cowardly. No one confronted death properly but instead focused on their despair and fear. Depression is a serious issue and whether you're depressed or not it takes serious dedication to remain optimistic and dedicated to enjoying your life. It shouldn't matter if you're alone or not, if you're lonely or not, because life isn't just people. However, I admit that there is no one-size-fits-all, "proper" way to confront such an amorphous, unknowable thing. Anyone might say the world over just hit its limit and couldn't take the loneliness anymore.

[christinaklassenjpt3391]

4/10 Blog

As I said before, I don’t like horror movies, so this wasn’t a necessarily fun watch for me, but I did appreciate the cinematography and directing of the film. Set against a backdrop of urban desolation, “Pulse” by Kiyoshi Kurosawa follows the interconnected lives of various characters as they grapple with a sinister force that manifests through the realm of the internet. As the film progresses, it becomes apparent that this malicious entity is feeding on the loneliness and despair of the living, pushing them to the brink of existential despair and ultimately driving them to seek solace in death. One of the most striking aspects of "Pulse" is its use of atmosphere and mood to create a sense of pervasive dread and unease. Kurosawa uses a minimalist visual style, utilizing long takes and static shots to evoke a sense of isolation and alienation. The film's muted color palette and haunting soundtrack further enhance the feeling of impending doom, immersing the viewer in a world that feels both familiar and yet eerily unfamiliar. At its core, "Pulse" is a reflection on the anxieties of contemporary life. In a world where technology promises connection but often delivers only alienation, the film's characters find themselves adrift in a sea of loneliness. The internet, portrayed as an outlet for evil forces, becomes a metaphor for the existential despair that lurks beneath the surface of modern society. As the characters confront this unseen threat, they are forced to confront their own mortality and the fragility of human connection. These themes resonate deeply in our current era, where technology and social media wield significant influence over our lives. The pervasive presence of technology and social media has altered our relationships and interpersonal dynamics. We often prioritize virtual interactions over face-to-face communication, leading to a sense of disconnection and isolation despite being constantly connected online. Like we saw in “Ring”, “Pulse” also stands as a warning against the dangers and consequences of technology. I like that the film did not have a clear answer and instead of neatly resolving its central mysteries, the movie invites viewers to grapple with ambiguity and draw their own conclusions. Is the supernatural force a manifestation of collective anxiety, a metaphor for the existential dread that haunts us all, or something more sinister and otherworldly? The film leaves these questions open to interpretation, inviting viewers to confront their own fears and uncertainties. Despite its ambiguity, "Pulse" remains a deeply affecting and thought-provoking film. Its exploration of themes such as loneliness, alienation, and mortality resonates with audiences on a profound level, challenging them to confront the darker aspects of the human experience.

[christinaklassenjpt3391]

While I don't like horror movies, I agree with you that the way this movie and other horror films use and play with tension to affect the viewer is notable. A lot of horror movies use a lot of jump scares and gore to scare the audience but I think the continuous build up of tension leads to a heightened sense of dread and suspense that it makes you even more scared than if the tension is released right away with a jump scare. I liked your observation of how the film's idea of technology spreading horror and bringing it into one's one is very prevalent and relevant to today with the internet and social media.

Ringu

I have actually never seen Ringu or any of the sequels/remakes before, so going into this movie, I was very excited to see what it was all about. From my limited pop-culture knowledge of this film, all I knew was that if you watched the tape, you got a phone call and died in a week, and then the girl comes out of your TV to kill you. Luckily there is so much more to this movie than what I knew, so it was a super fun watch and new and fresh experience for me.

            One thing I love about horror movies like this is how they play with tension. So so many horror movies will only use tension to eventually just jump scare the viewer and then all of the tension is immediately dispersed in that moment and that’s just what the experience is. However, in Ringu, tension is all that is built. There are no real jumpscares here, but every moment has so much suspense and tension, and that’s what seems to be the true horror effect in this film. I think the best part about this tension that makes it work so well is just how little information we are given throughout the movie. Even at the end of the film there are still unanswered questions like, “What really is Sadako?”, “What is up with Shizuko and also Ryuji’s(?) powers?”, etc. But the denial of information throughout the film really amplifies the sense of dread and horror that both the characters and the viewers feel.

            There is a very prominent theme of isolation in this movie. Both Sadako and Yoichi are somewhat isolated in this movie, which explains why Yoichi feels such a “connection” to her and eventually ends up watching the tape. Reiko is always working, and Yoichi is used to being on his own. When he sees his father in the street, they don’t even exchange a word before walking away. Despite Reiko’s love for him, which is undeniable, we never really see Yoichi reciprocate. He doesn’t ever really smile or laugh, except at his grandfather’s, who he later says is boring. Also for Sadako, she is treated by everyone as a monster and an abomination and is killed for simply existing thusly. I think the fact that we never see her face behind her hair is very significant, because it shows that she is cut off from everyone else and is incapable of truly being known or having any kind of connection. In fact, the only time we see her face is when Ryuji is killed, implying that actually seeing her face and coming to know the truth of who and what she is, is fatal.

            I also really liked the twist ending, making the audience think that the solution to Sadako’s curse and anger was love and acknowledgement, an end to her isolation, when in reality, the cycle is never-ending, and one must simply pass it on to another in order to save themselves. In truth, Reiko only went to find Sadako’s corpse and gave her “love and affection” to save herself and her son’s, the true object of her love and affection, life. If not for Sadako’s murders and threat of impending death, no one would’ve cared to solve her death or bring her any kind of peace or justice. I actually did not know that this theme of not being able to escape the cycle of the curse and simply needing to pass it on to another unfortunate soul to save your own life came from Ringu. So it was very funny to recognize that horror movies from my generation like It Follows, are simply worse takes on that same premise. But it was also nice to recognize the lasting influence that this film has had.

            I think the use of technology in this film is also very interesting. I think that this movie was very ahead of its time, as the reason that technology, specifically TV and VHS is so scary in this movie is the way that it spreads. If this footage is dissipated enough, it can reasonably be inferred that eventually everyone will have seen the tape and there will be no one left to pass the curse along to in order to save yourself. This idea of technology spreading horror and bringing it into one’s home, like when Sadako literally crawls out of the television, it something I think is far more prevalent and relevant today, with the internet. So it was very cool to see such an idea happening as early along as the 90’s with television and VHS tapes.

[christinaklassenjpt3391]

4/5 Blog

I don’t really enjoy horror movies, so I wasn’t necessarily excited to watch “Ring”, but it is a classic, so it makes sense why we’re watching it. However, I have heard of the film before, most memorably while watching the anime “Kimi no Todoke” whose protagonist’s name is Sawako, but her classmates call her Sadako for her resemblance to the horror character in the film “Ring”. Hideo Nakata's "Ring" stands as a defining work in the horror genre, creating a story that transcends cultural boundaries and continues to captivate audiences worldwide. Released in 1998, this Japanese psychological horror film presents a gripping narrative centered around a cursed videotape and the haunting repercussions that unfold after its viewing. "Ring" presents a compelling exploration of fear and the unknown, drawing viewers into a world where the line between reality and the supernatural blurs. The story follows investigative journalist Reiko Asakawa as she delves into the mystery surrounding a series of deaths linked to a peculiar videotape. With each revelation, the tension mounts, leading to a climax that leaves audiences questioning the very fabric of their reality. What sets "Ring" apart is its ability to evoke a sense of unease through atmosphere and subtlety rather than relying on jump scares or graphic violence. Director Nakata employs slow pacing and lingering shots to build suspense, immersing viewers in a palpable sense of dread that lingers long after the film ends. I honestly think this kind of directing and shots make horror films scarier than overuse of jump scares and violence. Furthermore, central to the film's allure is its exploration of technology's darker implications. The cursed videotape serves as a metaphor for society's increasing reliance on media and the potential consequences of our obsession with it. In an age where information overload is common, "Ring" serves as a cautionary tale, reminding viewers of the hidden dangers lurking in the digital realm. This theme resonates profoundly with society nowadays, where an increasing addiction to smartphones and technology is rampant. Additionally, the proliferation of concerning and dangerous content circulating online highlights the relevance and urgency of the film's message. Of course, no discussion of "Ring" would be complete without mentioning its iconic antagonist, Sadako. With her haunting appearance and chilling presence, Sadako embodies the very essence of cinematic terror. Her character has since become a cultural icon, inspiring countless adaptations and cementing her status as one of horror cinema's most enduring villains. Despite being over two decades old, "Ring" continues to exert its influence on contemporary horror cinema. Its legacy can be seen in the proliferation of J-horror films and the enduring popularity of supernatural thrillers.

[christinaklassenjpt3391]

I really liked your observation of the funeral scenes in the film and its connection in burning the money. I didn't think about how the first scene with her mother's funeral could be related to Fei Hong's funeral, but I see how they parallel each other now. I also liked how the movie used language and how the characters would speak a mix of Japanese, Chinese, and English.

Swallowtail Butterfly

There was a lot happening in Swallowtail Butterfly. I loved the use of language in the film, a creolized mix between Japanese, Chinese, and English. This aspect of the film did a lot to paint the picture of this fictionalized world of Yentown, as a mix and interlacing of cultures, blending identity. The fact that there are so many people of different backgrounds that speak different languages, and the fact that the movie opens with the explanation of Yentown as a more futuristic version of the American gold rush from 1949, makes me think that this is a take on American culture. Perhaps the fact that this idea of culturally ambiguous slums of immigrants coming in search of a better life taking place in Japan is meant to serve as a critique of an increasingly American or western cultural attitude rising in Japan.

One symbolic thing I noticed was the way that funerals are conducted by the Yentowns. At the beginning of the film we see Ageha’s mother’s funeral happening at the police precinct, presumably because they cannot have traditional funerals in their situation. Despite their severe need of money, they burn money on the body. I think this connection with money as the way to live is the reason for this burning. Perhaps it was her mother’s money that they burned, as her life, and therefore her money, has passed. Opening the movie with this and then including the scene towards the end where Ageha burns all of the money that she made by counterfeiting after the death of Feihong, is a nice parallel.

Another interesting aspect of the film that is related to this idea of a cultural mix, is that of how identity is forged in Yentown. Because of the influences from so many different languages and cultures, and the fact that most of our characters have spent their whole lives in Yentown, creates this sense of Yentown as almost its own country. The Japanese see the Yentowns as one kind of people, despite what language they speak or where they come from originally. None of that really matters because they are from Yentown. It is also in Yentown that people like Glico and Ageha find their identity and are even given their names. Glico does not receive her name until she comes to Yentown with her brothers, and Ageha receives hers from Glico. This idea of names shows that some of the characters receive the entirety of their identity from Yentown. Unlike Feihong, Ageha and Glico do not have a name from their place of origin, and therefore have no personal connection with any place other than Yentown. So it is in their attempt to escape from this place through money, wealth, and material gains, that they all end up disillusioned and unhappy. But it is together, really no matter where they are, that they find the most fulfillment in life.

[christinaklassenjpt3391]

4/1 Blog

Initially when I saw the movie was going to be 2.5 hours long, I was not excited to watch it. However, I was pleasantly surprised by the movie and really enjoyed it. In the world of Shunji Iwai's "Swallowtail Butterfly," Tokyo takes on a dystopian appearance where the Japanese yen holds sway as the world's dominant currency. This economic magnetism draws a surge of immigrants, both legal and otherwise, to the city's shores, earning it the name "Yen Town." However, this influx is met with disdain by the native people, who mockingly refer to the newcomers as "Yentowns." The main protagonist of the narrative is Ageha, a sixteen-year-old girl left adrift in the wake of her mother's passing. Passed from one caretaker to another, she eventually finds refuge in the care of Glico, a Chinese prostitute who gives her the name Ageha, meaning swallowtail. Alongside a diverse group of immigrant characters—each with their own aspirations and struggles—Ageha traverses the gritty streets of Yentown, where survival often hinges on engaging in petty crime and prostitution. In "Swallowtail Butterfly," the exploration of identity and belonging takes center stage, resonating with themes we've encountered in recent films. An example is the portrayal of the American man who, despite being born and raised in Japan, finds himself disconnected from both American and Japanese cultures. He speaks Japanese fluently, but he doesn’t look Japanese so it’s difficult for him to fit in. At the same time, he looks like an American, but he can’t speak any English, so he is essentially disconnected from both sides. His proposal to name the club "Three Culture Kids" serves as an attempt to bridge the gap between immigrants and those who don't fit neatly into the confines of Japanese society. This mirrors the identity crisis depicted in "Go," where Sugihara, a Japanese-born Korean, struggles against discrimination despite his cultural assimilation and fluency in Japanese. Both characters epitomize the complex struggles of individuals caught between cultural boundaries, longing for acceptance while facing the harsh realities of societal prejudice. Their experiences offer insight into the challenges of navigating identity in a world where cultural norms often dictate belonging. I think the film and the characters did a great job of showing the tendency of human nature. One notable aspect is the display of kindness exhibited by characters like Glico, who chooses to take Ageha under her wing rather than subjecting her to becoming a prostitute in Yentown. Conversely, Ageha's journey reflects the tumultuous nature of adolescence, characterized by moments of recklessness and vulnerability. Her brush with a heroin overdose serves as a reminder of the consequences of impulsive decisions and the fragility of human life. Overall, I thought the movie had deep themes while still being funny and enjoyable.

[christinaklassenjpt3391]

I liked your observation of Kitano's juxtaposition of the violent scenes of death and beautiful scenes of relaxation and life and how it paints a picture of the nature of human existence. I agree with this take because human nature and life itself has a dual nature. In the Cambridge Dictionary it states, "to have existence is to have contrast, but in that contrast there is still connectivity". I believe we can only understand what's beautiful and peaceful when we also know what destruction and death is.

Hana-Bi

Kitano Takeshi’s Hana-Bi is a beautiful film. The thing that stuck with me the most throughout this film was the gorgeous soundtrack. Every single moment that the orchestra swells, the flutes chime in, everything is filled to the brim with life. I don’t think I’ve ever been so compelled by a soundtrack upon first listen like I have with this film. Upon further research it was no surprise to learn that the composer was none other than Hisaishi. The opening song evoked similarities to that of The Merri-Go-Round of Life.

            Getting into the film, I was impressed with Kitano’s acting and directing. From gorgeous shots of the Japanese landscape, contrasted with close ups of a firefly on a leaf in the snow, to lingering shots on various pieces of artwork, this film is extremely artistic in many aspects. Kitano is able to convey profound emotion without speaking a single line, something that not many actors can accomplish so effectively.

            The theme of the inescapability of fate and the powerlessness one feels in the face of it is strong in this film. After Nishi suffers so many indescribable losses and painful events, despite his ability to take out multiple yakuza members like John Wick and easily rob a bank, in the end he cannot bring back his daughter or save his wife from her illness. Death is also very prominent, as Horibe attempts suicide after becoming paralyzed. Nishi also, in a way, attempts suicide, always facing impossible odds and a string of questionable actions that he knows he will not be able to run away from forever. But, in the face of losing everything he loves, he would rather do what he can to have the best life possible with his wife in the time they still have left together. It is in the inescapable face of death that Nishi and his wife live to their fullest.

            The combination of violent scenes of death and beautiful scenes of relaxation and life paint a poignant picture on the nature of human existence. We strive for love and happiness in the moments that Nishi shares with his wife, but those scenes are always underscored by the inevitable truth of their loss and fate that they are condemned too, which does not allow the viewer to fully experience that joy. Nishi is the same, however, only really showing lots of emotion in his acts of violence. Throughout the film, he embodies a walking corpse, a man so defeated and scarred by loss that it seems he has no true emotions of reasons for continuing. Kitano’s portrayal of Nishi plays into this fantastically, as his rigid slow movements and void facial expressions capture this state of being expertly.

            Horibe’s story is somewhat opposite to that of Nishi, as after his failed suicide attempt, Horibe rediscovers his will to live in painting. His paintings embody the essence of life, nature, human being. His story starts towards death and rises up, while Nishi’s plummets towards death. In this dichotomy Kitano expresses his true feelings about life and death, not as opposites or separate entities, but inevitably intertwined, defining each other. Both characters have intense interactions with both life and death, yet their paths are vastly different.

[christinaklassenjpt3391]

3/25 Blog

I personally liked the film “Hana-bi” by Takeshi Kitano and thought it had a unique storyline and beautiful visuals and soundtrack. Initially, "Hana-bi" may appear as a typical crime flick, centered around yakuza conflicts and police pursuits. However, Kitano transcends these genre norms, crafting a narrative that delves into the workings of the human psyche. The story follows Nishi, a former cop turned gangster, as he grapples with personal tragedies and embarks on a journey of redemption. What makes "Hana-bi" stand out is its minimalist storytelling. Kitano employs long, contemplative shots and sparse dialogue to convey a lot of emotions simmering beneath the surface. Each scene is carefully crafted, with every frame filled with silent intensity. This deliberate pacing draws viewers into the characters' internal struggles, fostering a connection that transcends language barriers. I thought the film addressed a lot of important themes such as guilt, morality, and creativity. Guilt is a big theme in the film. The weight of responsibility for the tragic events that unfold, coupled with the burden of indebtedness to the yakuza, serves as a constant reminder of Nishi's past transgressions. Kitano navigates the complexities of guilt, portraying it not as just an obstacle to overcome, but as an intrinsic part of the human condition—a burden to be carried, yet also a catalyst for growth and redemption. The film also grapples with the theme of mortality, as embodied by Nishi's wife, Miyuki, who battles terminal illness throughout the story. Miyuki's presence serves as a reminder of the ephemeral nature of life and the inevitability of death which is a common theme that resonates throughout the film. Through her character, "Hana-bi" explores the fragility of human existence and the profound impact of love and companionship in the face of mortality. Finally, art and creativity emerge as transformative forces in the movie, offering characters a means of expression and calming during the turmoil of their lives. Horibe's journey from despair to artistic inspiration, fueled by Nishi's gesture of kindness, highlights the transcendent power of creativity to provide comfort and heal wounds. Through the lens of painting, the film celebrates the beauty of the human imagination and its capacity to transcend suffering and despair. One thing I found interesting in my research on this film was about Horibe’s paintings. Horibe finds solace in pointillist painting to help him deal with his paralysis. What many don't realize is that these paintings are actually created by Kitano himself. During his recovery from a motorcycle accident in August 1994, which left him with facial paralysis, Kitano painted these works of art. I think he wanted to include Horibe’s character and him using art as an outlet for his trauma and sadness to reflect himself and what he went through after his accident.

[christinaklassenjpt3391]

"Go" is also my favorite movie so far! It also made me emotional and kept my attention the entire film. I also really liked Sakurai's reaction to the shooting star and the snow falling on Christmas Eve and how she knew it was cliche/corny and pointing it out made it humorous. I liked your observation of how some racism/stereotypes can be passed down due to upbringing. Like you said, nobody is helpless against this which I think is what we see in Sakurai's change from her initial reaction. At the end, she challenges the stereotypes taught to her by her father and decides to be with Sugihara.

Go

Definitely my favorite movie so far. I feel like I've said that about a ton of movies, but I really did love this movie. It was the only film this whole class that made me emotional and kept me engaged the whole time. That's no shade on the other movies, by the way-- I'm honestly just not a big film guy, and it takes a really good one to get me interested.

Like Owen and Shuuji, I've also seen IWGP, and this actor is great. Both that show and this movie focus on some cool ass 2000s kids that like to fight. But I liked this one even better than IWGP because it not only has some incredible style (the train running seen has to be one of the best movie openers I've seen) but also some incredible substance. It's also just such a cool and unique premise; I had no idea there was even a North Korean population in Japan at any time. The humor was great at every stage of the movie. I love Sakurai's whole bit with the shooting star and the snow; I guess the 2000s was when people became aware of corniness.

Speaking of corniness, one of my favorite aspects of this film was how Sakurai reacted to Sugihara's reveal. She's such a funny and sympathetic character that I almost expected her not to care-- but her response was much more realistic, and highlights something really interesting about racism and how it is passed down.

Sakurai "understands" on an intellectual level that Sugihara is not actually different from her, and there is nothing to be afraid of. And yet she is unable to prevent her physical revulsion at the thought of sex with him. Obviously no one is totally helpless against their racist upbringing or parents (and Sakurai is totally lame for her reaction) but this scene is still a cool exploration of the way someone can end up racist, even if they're not otherwise a hateful person. You could say them making up in the end is just so there can be a happy ending, but there's also the more hopeful message that even a racism so deep rooted that it causes physical (Also the conversation with the police officer is great)

Anyway, I could talk forever about why this film is great, but I won't waffle. It's an amazing movie and it really touched me.

[christinaklassenjpt3391]

3/20 Blog

I really enjoyed the film “Go” by Isao Yukisada and thought it was interesting and funny while still encapsulating many deep themes like identity, self-discovery, and societal prejudice. The movie caught my attention from the start with its engaging opening scene, where Sugihara transitions from playing basketball to unexpectedly drop-kicking his classmates and even his coaches. This is the first time we see Sugihara’s violent side which we will continue to see throughout the film. After the basketball scene, Sugihara becomes infamous for fighting and many students come to challenge him, but he beats all of them. However, we also see character development in terms of Sugihara’s violent tendencies following the tragic death of his best friend Jong-II. At Jong-II's funeral, Sugihara is approached by a former classmate from their North Korean school, who urges him to seek revenge against the teenager responsible for Jong-II's death. In this crucial moment, Sugihara displays emotional growth. Rejecting the cycle of violence, he confronts his classmate, stating that Jong-II would not have wanted retaliation. Sugihara's refusal to resort to vengeance showcases his maturation, as he recognizes the futility of using tragedy as a justification for further violence, especially when the perpetrator had little connection to Jong-II. Even though Sugihara does fight his dad towards the end of the film, and he knocks out the police officer (but then comes back to make sure he wakes up and brings him a coffee), Sugihara does not engage in meaningless violence as he did before. The biggest theme of the film, however, is Sugihara’s identity and his struggle with being a Japanese-born Korean. This is the first movie we’ve seen that has addressed racial and nationality themes which is bold considering Japan’s past relations with Korea and Japanese treatment of foreigners. Even though Sugihara might not wear his emotions on his sleeve, his care for his identity and the feelings of alienation he experiences are palpable throughout the film. A prime instance of this is when Jong-II works toward becoming a professor at the North Korean school. Sugihara's genuine pride in Jong-II's aspirations shines through, as he expresses optimism that Jong-II's role could bring about meaningful change. Furthermore, Sugihara's inner turmoil over his identity becomes even more pronounced when Sakurai rejects him upon learning he is Korean. His confession to the police officer about wishing he was green like an alien, merely to deter people from getting close, illustrates the depth of his hurt. This moment sheds light on Sugihara's sense of hurt and the weight of his longing for acceptance. The encounter with Sakurai highlights Sugihara's ongoing struggle to reconcile his identity with societal prejudices. Despite allowing himself to be vulnerable and develop feelings for someone, the rejection he faces upon revealing his true background serves as a harsh reminder of the barriers he faces. Sugihara's yearning for acceptance and understanding is familiar, reflecting the universal desire to be embraced for who we truly are.

[christinaklassenjpt3391]

I liked your observation that the main character's name "Tampopo" may relate to her personal characteristics like courage, strength, and perseverance since a dandelion is a weed. Furthermore, I liked your take on the film and its discourse on professionalism. I definitely see how the film critiques the ramen shop owners who refuse to accept criticism and don't share their knowledge. I think Itami is trying to send a message that food should be enjoyed by everyone and those who act in this way are putting barriers up in the culinary world that ultimately holds it back.

3/18/24 "Tanpopo" JPT 3391

I watched "Tanpopo" two and a half times because of how initially absurd it appeared to me. I was hellbent on figuring out what it was trying to say, because I saw a connection but I didn't know what it was.

Tanpopo on Ego and Defiance:

I left this movie with the impression of a commentary on hard work, ego, and a discourse on professionalism. Tanpopo really screams at the watcher that anybody can be a 'professional' at something, while simultaneously begging the question of what a 'professional' even is. "Tanpopo" pokes fun at those who think they know how to make/eat the perfect ramen, while simultaneously praising and building up the main character, who initially didn't even know how to cook well, into a ramen connoisseur! Our main character is called Tanpopo, meaning dandelion (perhaps related to her being a symbol of courage, strength, and perseverance, as it's a weed). She starts as an ambitious but inexperienced cook, who instead of becoming upset or discouraged by critique, runs with it, ending the movie with a transformed look, a transformed shop, and a new ramen recipe ("Tanpopo ramen"), signifying her transition into a professional. The film critiques the ego of the professional ramen cooks who don't accept criticism and refuse to share knowledge, showing that there is not necessarily a 'proper' way to do things (such as eat ramen or slurp), but instead several good options that one needs to explore themselves. So then, what is a professional? What I took from this movie is that it is somebody who is skilled at their craft, willing to take critique, and willing to share their knowledge with others.

But if that's it, then what were all those strange cutaway scenes about? I initially evaluated Tanpopo as an absurdist comedy- and in a sense, I still feel like it's absurdist! But, to me, the nuance comes from the way in how it conveys it's themes- using several unrelated and comical scenes that share one unified message of defiance! The old woman poking holes in produce, the homeless man who broke into a kitchen just to cook a tasty omurice, the group of girls slurping noodles WAYY too loudly, the employee that stuns his superiors by ordering a high quality dish, and the couple that... has sex using a shrimp? (gross). All of these scenes involve breaking a mold some way or another, with food as their medium. Rebellion, whether ethical or not, revealed itself as a reflection of Goro's character, who watches Tanpopo defy social norms as a solo female ramen chef and was passionate to help her surpass her 'professional' rival cooks.

Unfortunately, I wasn't able to loop all of these scenes together as one. The man who ate the oyster sexually from the girl's hand, the man that forced his wife to cook dinner until she died, and the man who died from a gunshot wound speaking of roast pig (ironically, while leaning on a pig), were all unknowns to me.

Food used as a storytelling device:

This movie took something as "simple" as ramen (and other foods) and turned them into an art form, a story, and thus a movie. While it may have not been the director's intention, I left Tanpopo with an appreciation for the mundane, whether it be ramen, cereal, or a walk in the park, and I appreciated what I felt was people using one small object in order to tell a complicated story about growth and change.

Character Shenanigans:

I was a fan of Goro, the most prominent side character of the film. There was a very obvious cowboyish western feel to his character, including the cow horns on his truck (steed?), him almost always keeping that damn cowboy hat on, his penchant for a tussle, and him disappearing without a word at the end, despite saving the town from peril.

Did anybody else get a Seven Samurai feel? I know there were only 5 'helpers', but if you could Tanpopo and her son, then that makes seven! Anyways, not sure if that was just me or done on purpose, but each man helped Tanpopo in her own way.

[christinaklassenjpt3391]

3/18 Blog

I enjoyed the film “Tampopo” by Juzo Itami and thought it was very entertaining and funny. The story revolves around Tampopo, a widow who inherits a struggling ramen shop. With the help of a charismatic truck driver, Goro she embarks on a quest to perfect her craft and create the ultimate bowl of ramen. Joining them are Gun, Goro’s driving mate, Sensei, Shohei, and Pis-Ken which forms a spirited team dedicated to revitalizing Tampopo’s ramen shop. In "Tampopo," I thought one of the funniest and most endearing elements is how characters from various backgrounds unexpectedly become culinary experts. It's amusing to see individuals with seemingly unrelated jobs share their knowledge of cooking and food, ultimately helping Tampopo refine her ramen recipe. Pis-ken, in particular, surprises with his recipe tweak: diagonally cut scallions, thinly sliced pork stir-fried lightly, and a dash of sesame oil. This scene humorously highlights the universal nature of expertise and the collaborative spirit of cooking. Pis-ken's contribution, though unexpected, elevates Tampopo's ramen to a signature dish, embodying the film's theme of finding greatness in unlikely places. Another portrayal I thought was interesting was Itami's depiction of different social classes and their relationship with food which offers interesting insights into privilege, knowledge, and age dynamics. One notable aspect is how he contrasts the homeless men's sophisticated understanding of food and wine with the struggles of the upper-class women as they learn to eat spaghetti. One of the homeless men talks in detail about a wine he found, Medoc a 1980 Château Pichon Lalande and even knows the history behind it. On the other hand, the ladies struggle to eat spaghetti the “correct way” and end up copying the foreigner slurping his noodles nearby. This comparison suggests that enjoying and understanding food isn't limited to the wealthy or privileged. Itami seems to suggest that anyone, regardless of social status, can have a deep appreciation for food. Additionally, another scene features older businessmen dining alongside a younger colleague. While the older men stick to the first businessman’s order, the young businessman confidently chooses something different, showcasing his culinary knowledge. This moment challenges the idea that wisdom and taste are exclusively associated with age and suggests that younger individuals can have a sophisticated understanding of food. Overall, Itami's portrayal of these food-related interactions encourages viewers to reconsider stereotypes about who can truly appreciate and understand the culinary world. Through these scenes, he encourages us to recognize that culinary appreciation is not bound by wealth, status, or age. Finally, the comedic aspect of the film is what I enjoyed the most since a lot of the films we’ve watched earlier in the semester have been somewhat serious or depressing. It made the film more fun and lighthearted while going along with the storyline.