#Michio Mamiya

[animenostalgia]

Some sad news to share - Composer Michio Mamiya, who may be best known for his collaborations with Studio Ghibli director Isao Takaha, passed away at the age of 95 in December of 2024. An award-winning, classically trained musical composer, Mamiya composed the scores for such anime classics as Horus: Prince of The Sun, Gauche The Cellist, and Grave of The Fireflies.

Rest in peace, Mamiya-san. Your music will live on in beautiful anime works for many generations to come.

[fancypantsrecords]

Michio Mamiya - Grave Of The Fireflies (Soundtrack Collection) | Studio Ghibli Records | 2022 | Black

[hatsunomio]

23年コンサート#62

5月14日　サロンテッセラ

寺嶋陸也　ピアノ

ショパン　24の前奏曲

間宮芳生　3つの前奏曲（1972）

林光　前奏曲集「草稿の森」（1993-95）

作曲、指揮のみならず、ピアニストとしても知る人ぞ知るヴィルトゥオーゾでもある寺嶋陸也氏、今回は東西の前奏曲集、しかも前半にショパンのあと間宮芳生、後半に林光の24の前奏曲集というもの凄いプログラム。

間宮芳生の西洋音楽、いやむしろ純音楽の太い流れを受け止め、新たな一歩を踏み出すような力強い「3つの前奏曲」。そこには間宮が敬愛していただろうヤナーチェク、バルトーク、コダーイだけでなく、シェーンベルクへの敬意も聴く。その上での独自性。研ぎ澄まされた一音一音と構成感が素晴らしい。

林光の前奏曲集は、彼の多くの作品にある社会的メッセージより個人的な創作の楽しみの色濃い曲集と一見するが、やはり一筋縄では行かないような感じもする。アイヌと沖縄の民謡的要��（第2曲、第3曲、第13曲、第20曲）、ジャズ（第16曲）。ショスタコーヴィチのポートレート（第8曲、思わずニヤリとしてしまう）とショスタコーヴィチが敬愛したムソルグスキー的音楽（第12曲、第23曲）。ストラヴィンスキーの影も登場（第4曲）。雑踏の活気を肯定的に見る第9曲もどこかで聴いた音が交錯しているような気がする。キエフの大門のような第23曲が終曲にならず、謎めいた第24曲の終結。もの凄く想像をかき立てられるが、寺嶋氏のプログラムノートの通り「出口は見つからない」。でもそれはなにか気持ちのいい戸惑いでもある。作曲者に「自分で考えなさい」と言われているような。

アンコールに、それまでの謎かけを解きほぐすようなラヴェルとドビュッシー。

[agendaculturaldelima]

 #ProyeccionDeVida

🎥🎼 La Música en el Cine, presenta:

🎬 “GOSHU, EL VIOLONCELISTA” [Gauche the Cellist / セロ弾きのゴーシュ/ Sero Hiki no Gôshuaka]

🔎 Género: Animación / Musical / Fantástico / Música

⌛️ Duración: 63 minutos

✍️ Guión: Isao Takahata

📙 Novela: Kenji Miyazawa

🎶 Música: Michio Mamiya y Ludwig van Beethoven

🗯 Argumento: Esta es la historia de Goshu, un pequeño violoncelista profesional. Durante los ensayos para los recitales, su preparador se enfada con él porque no está tocando suficientemente bien. Goshu parece no sentir nada por la música... Por suerte, encontrará unos amigos muy especiales: un gato le va a ayudar a entender el sentimiento de la música, la importancia de practicar se la mostrará un cuco, el ritmo un tejón, y la ternura un ratoncito. Gracias a ellos, Goshu aprende el verdadero sentido de la música, para convertirse por fin en un fantástico intérprete.

👥 Reparto en Voces: Hideki Sasaki (Gauche), Kōichi Hashimoto, Kaneta Kimotsuki (Cuckoo), Masashi Amenomori (Conductor), Fuyumi Shiraishi (Cat), Junji Chiba, Kazue Takahashi, Akiko Takamura y Keiko Yokozawa.

📢 Dirección: Isao Takahata

© Productoras: OH Production & Studio Ghibli

🌎 País: Japón

📅 Año: 1982

📽 Proyección:

📆 Sábado 28 de Setiembre

🕚 11:00am.

🏪 Sala Azul del Centro Cultural PUCP (av. Camino Real 1075 San Isidro)

⭐ Organiza: Sociedad Filarmonica de Lima y Filmoteca PUCP

🚶‍♀️🚶‍♂️ Ingreso libre

[felixtam]

Audiovision Blog Post week 6

1. Research (technical, academic, creative practice)

This week I have started trying to nail down on the pacing and mood for the video. I began my research by looking at effective ways to transition between scenes and moods without breaking engagement.

An article by Vionlabs breaks down certain techniques that can be used to maintain engagement. Sound effects and foreshadowing will be key in shifting the mood. By utilising ambient sound and musical motifs, I can subtly illicit a change in emotion by foreshadowing what is to come without it being directly shown in the visual component. I will also incorporate a wide range of plugins and devices to alter certain sounds within the scenes. As the main character is a sick old person, this allows me to play into the symptoms of sickness through sonic nuances when establishing the character. (e.g. wheezy breathing, white noise ringing to represent neural problem, heart beat sound or groans when character is in pain.) Callback Sounds use sounds that the audience associates with certain emotions to evoke the desired response.

I plan on using a slow build-up of layered sound effects and noise to represent a Chronic Obstructive Pulmonary Disease (COPD) with the screen going blurry and and sound becoming distant through filters and manipulation. These segments also allow for a shift in tone and emotion within the score.

A paper by Mariana Julieta Lopez and Sandra Pauletto from The University of York discusses sound design for the visually impaired. The various sections breaking down how to use audio spacially to replicate environments helped me create a basis for my own design.

By employing muffling and EQ alterrations to certain audio this can help easily recreate the sound coming from other rooms. I found that by putting an 'Auto Filter' and cutting off the high-end frequencies, then panning this audio I can create a compelling realism to the sound. These layers of distant audio further establish the space, or in this case lack of space in the environment. To counteract this minimal reverb and resonating frequencies within the room help accentuate the claustrophobic nature of the space.

I have also been looking for ways to improve my established musical score as I am not super happy with how it is playing into the narrative. I have been listening to various musical pieces by Japanese composer Michio Mamiya who wrote many of the soundtracks for various Studio Ghibli films. I wanted to get a better understanding for how these melodies were used in conjunction with the animation. The 1988 film ‘ Grave of the fireflies’ main theme is a prime example of how composition can be used successfully to illicit the emotion of despair and sadness.

As the movie takes place during the firebombing of World War II, the haunting melody and somber orchestration evoke feelings of loss, despair, and nostalgia to me. Additionally, the context of the film, which depicts the devastating impact of war and loss on innocent lives, adds depth and emotional weight to the music, intensifying its impact on the listener.

I also noticed heavy usage of melodic motifs that off set what you as a listener are expecting to hear in a classical composition, as these small accents help build character and interest towards the score rather than leave the listener bored with repetition.

In order to successfully implement these techniques I first need to ground my environment and establish a sonic connection between the audience and the characters in the story. Character development and work by the animators will play a major part in this but small nuances of characterisation such as voice, the way the character perceives certain sounds and environment interaction.

2. Reflection

In class, we looked through the various Monsters Inc sound design examples. In regards to learnings and their implementation in my own work, I really liked the example shown within the animation short of Mike showing Sully his new car. The way mood and score were established through the use of grounded diegetic sounds was a cool technique that I wanted to use in my video. I found the use of nonsensical sounds used for comedic effects to be very entertaining, such as the grinding metal when Mike is stuck in the engine.

When analysing the door chase scene, the break down of the various layers shined light on the importance of musical and sonic motifs towards establishing the urgency or matter in the scene. The sound effects play through highlighted the importance of layering minor sound effects to work with the score. An example in this scene was the emphasis on urgency and danger with the sweeping train track screeches, sirens blaring and the impact of the doors clacking together as tools to engage.

Whilst my project does not have any action, I want to employ some of the techniques used within the door chase scene as the characters jump between various environments. The shift of tone and score if executed correctly maintains the speed and pacing of the scene and adds a humorous aspect the manic events. I want to interpolate this idea however instead from a slow depressive state to a more uplifted and enlightened mood then back again.

3. Progress

This week my group partners and I had a meeting to discuss the progression and planning of the project. We primarily went through both our thoughts on how the video should play out as well as going through a couple challenges surrounding their animatic. Since the last time we talked they changed a few major things around in the animatic which led to me removing and recreating certain sections of audio that I have been working on. They are planning on changing a few more things following feedback and discussion with their teacher, so for the moment I want to focus on the score as much as possible.

With the research around creating an effective piece of music that evokes the emotions I want it to I have made some alterations to the melody. My original piece looped and became highly repetitive, as well as not reflecting the scenes mood very well.

The main challenge I face is working around the video as the pacing and flow is not exactly smooth due to the back and forth nature of the narrative. The narrative follows the life of an elderly couple living within the Hong Kong coffin housing however, frequently switches back to flashbacks of their past living in a different house. This forces me to work on creating effective transition sequences and sonic components that not only keep the viewer engaged, but also do not disrupt the flow of the narrative.

I have stripped back alot of the musical elements for the very opening section as I feel having space for breathing room allows for better character development and establishes the environment. my partners are planning on incorporating a lot more subtle visual elements into the animation that will help ground the environment as I continue to add layers.

Bibliography:

[deepseaesthetics]

“Could I request a Liliya instrumental playlist of orchestral or softer OST music?”

♡ of foreign lands and people - robert schumann (diane hidy cover)

♡ the theory of everything - johann johannsson

♡ setsuko to seita - michio mamiya (grave of the fireflies OST)

♡ meguri - masakatsu takagi (wolf children OST)

♡ river flows in you - yurima

♡ the swan - camille saint-saens

♡ floaroma town (night) - go ichinose (pokemon DPPT OST)

♡ valse sentimentale - tchaikovsky

liliya © dsp

[travis-lee2-blog]

제11회 서울레코드페어 : 문화역서울284 안녕하세요. 이영감입니다. ​​방문해 주셔서 감사합니다. 이번 주말 서울레코드페어가 열리네요. 초장기에는 쓸만한 것들을 좋은 가격에 구했는데 리셀러와 업자들 판으로 커져서 본질을 잊어가는 것 같아 아쉬운 레코드페어입니다. 그러나 저 역시 한번 들려야겠죠? 이번 주말 쭈욱 돌와보고 와야겠습니다. 제11회 서울레코드페어 한정반 ​ 김현철 DONG-A RECORDS YEARS 1984~1994 (5LP + 20페이지 책자) 판매가: 195,000원 안다영 Burning Letter EP 판매가: 34,000원 우효 소녀감성 판매가: 38,000원 우효 Adventure 판매가: 40,000원 유라 Gaussian EP 판매가: 38,000원 ​제11회 서울레코드페어 × 레코드데이 2022년 레코드데이 (11월 3일)를 통해 발매되는 레코드들 중 총 14종을 11회 서울레코드페어에서 판매 ​Akina Nakamori - Regeneration - 中森明菜 re-mix (Color Vinyl 2LP) Akina Nakamori - Regeneration - 中森明菜 re-mix 2 (Color Vinyl 2LP) Debbie's Ally - 夜明けのDREAMING Fujifabric - Wakamono No Subete 若者のすべて　/ Serenade セレナーデ (7") Fujimaru Yoshino - Romantic Guys Jiro Inagaki & Soul Media - Funk Party Kingo Hamada - Midnight Cruisin' (Color Vinyl) Kohmi Hirose - Romance No Kamisama ロマンスの神様 / Gerende Ga Tokeruhodo Koisitai ゲレンデがとけるほど恋したい(7") Michio Mamiya - Grave of the Fireflies Image Album 반딧불이의 묘 이미지 앨범 Michio Mamiya- Grave of the Fireflies Soundtrack 반딧불이의 묘 사운드트랙 Piper - Lovers Logic Presents - Feeling Like A Child Swinging Popsicle - Orange オレンジ／Tooisora 遠い空 (7") TAHITI 80 - Kaze Wo Atsumete 風をあつめて／Andy's Car Chase (7") ​ ​#서울레코드페어 #서레페 #서울역사 #엘피음악 #서울레코드페어한정반 #레코드데이 #youtube #brainstormLee #이영감 #vinylRecord_brainstormLee #엘피_이영감 https://www.instagram.com/p/Cke-z_ohkD5/?igshid=NGJjMDIxMWI=

[ultraclairedg]

Isao Takahata (1935-2018) and the “Grave of the Fireflies”

Do you love the animated movie “Spirited Away”? Have you watched “Howl’s Moving Castle” more than once? Were you amazed at the environmental message of “Princess Mononoke”? If you answered “yes” to these questions, then you, probably, are, like me, an avid fan of films produced by Studio Ghibli.

When you think about these films, though, you probably connect them to the person of Hayao Miyazaki, who did write and direct the majority of films produced by Studio Ghibli. However, this studio and its productions were not the work of just one man. When it was founded in June 1985, four people set it up – Hayao Miyazaki, Toshio Suzuki, Yasoyoshi Tokuma, and IsaoTakahata, who passed away on April 5th of this year.

Takahata became interested in animation from a young age. A graduate in French literature, he had seen the 1952 French animated film “The King and the Mockingbird”. After watching this film, he realised the potential of animation as an art form and, on the suggestion of a friend, applied to and was accepted to work for Toei Animation. (This is the studio responsible for Dragon Ball, Digimon and One Piece, among many other things.) After several successful years with Toei, he realised he could progress no further with them so he left . Eventually, after working for a couple of other companies, Takahata was approached by Miyazaki with the idea of setting up Studio Ghibli with Miyazaki as director and Takahata as producer. During their time together, Miayzaki directed the majority of Studio Ghibli films but in 1988, Takahata made his directorial debut with “Grave of the Fireflies”.

“Grave of the Fireflies”, a film about the experiences of a young boy, Seita, and his very young sister Setsuko in Japan during the Second World War, is based on a short semi-autobiographical story by Akiyuki Nosaka and also on Takahata’s own experience of the bombing of Okoyama City by the Americans in 1945. It is an extremely sad and haunting tale which really emphasises the suffering brought about by war. Takahata always insisted that it was not an anti-war story but it is hard to watch this movie and not come to that conclusion. As with all Studio Ghibli films, the animation is superb and is accompanied by the music of Michio Mamiya. The experiences of Seita and Setsuko bring the tragedies of war home to the viewer on a personal level leaving out the glorification of battle that so often accompanies war movies, and this is just one element of so many that make it such a memorable film.

(Okoyama City in 1945)

“Grave of the Fireflies” has received great praise and numerous awards, including a 1994 win in the Chicago Children’s Film Festival and a 97% approval rating from Rotten Tomatoes. If you live in the UK, you may have had the chance to see this film on Film4 when it was aired a few days ago in a tribute to Takahata. If you did not see it then or if you live elsewhere, it’s well worth viewing. I’ve included a link below for Youtube, but beware, if you are sensitive you will be greatly affected by this tragic story which draws you in so that you feel the loneliness and desperation of Seito, Setsuko and others who suffered during that time.

Linguistic phun fact: Takahata wanted the roles to be played by children of an appropriate age with the appropriate accent for the Kobe region of Japan. It was believed that no child of Setsuko’s age could do this but Ayano Shiraishi, who was only 5 years old at the time, was cast in the part of Setsuko after speaking only two sentences in her audition. “My name is Ayano Shiraishi. I am 5 years old.”

[newsintheshell]

Night Head 2041, svelata la data di debutto con locandina e nuovo trailer

Annunciata un’altra parte del cast della serie animata in arrivo a luglio.

Diffuso un nuovo trailer di “Night Head 2041″, la serie animata ispirata al drama live-action degli anni ‘90, ideato e diretto da George Iida, intitolato appunto “Night Head”. 

Il video anticipa la sigla di testa “Icy Ivy” a cura dell’artista Who-ya Extended (Psycho-Pass 3, Jujutsu Kaisen) e fissa il debutto dell’’anime per il 15 luglio.

Assieme al video è stata svelata una nuova locandina ufficiale per la serie.

Annunciati, inoltre, altri membri del cast:

Michio Sonezuki: Kazuyuki Okitsu 

Reika Mutou: Lynn

Daisuke Honda: Yasuhiro Mamiya 

Yui Akiyama: Reina Ueda

Kimie Kobayashi: Yoko Hikasa

Shouko Futami: Kaori Maeda

Kyojiro Mikuriya: Banjo Ginga

La serie è diretta da Takamitsu Hirakawa (direttore della computer grafica in Etotama e Revisions) presso lo studio SHIROGUMI (Etotama, Revisions) e ad occuparsi della sceneggiatura c’è ancora una volta George Iida. Il design dei personaggi è concepito da Oh! great, l’autore di “Air Gear”, mentre le musiche sono composte da Yutaka Yamada (Tokyo Ghoul, Great Pretender).

I protagonisti della storia sono Naoto e Naoya Kirihara, due fratelli in fuga dotati di potenti abilità psichiche. A braccarli c’è un’altra coppia di fratelli, Takuya e Yuuya Kuroki, che fa parte della Forza di Sicurezza Nazionale incaricata di catturarli.

Il lancio dell’anime sta venendo accompagnato da un manga, un romanzo e una rappresentazione teatrale.

L’originale serie sci-fi ha già ispirato un manga, serializzato fra il 1996 e il 2000, oltre ad un anime di 24 episodi intitolato “Night Head Genesis”, trasmesso nel 2006, dal quale è poi stata tratta una versione a fumetti.

* NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! *

Autore: SilenziO)))

[FONTE]

[recentanimenews]

NIGHT HEAD 2041 TV Anime Reveals New Batch of Characters Alongside Premiere Date

  Upcoming original sci-fi TV anime NIGHT HEAD 2041, from the mind of film director George Iida as a follow up to the 1992 TV drama NIGHT HEAD, released a bunch of new information today alongside a new trailer, visual, cast members, and its premiere date on the ＋Ultra TV block on Fuji TV.

    The trailer featuring the opening theme song "Icy Ivy" by Who-ya Extended: 

        Joining the cast is:

  Kazuyuki Okitsu will be voicing Michio Sonezuki 

Lynn will be voicing Reika Mutou

Yasuhiro Mamiya will be voicing Daisuke Honda

Reina Ueda will be voicing Yui Akiyama

Yoko Hikasa will be voicing Kimie Kobayashi

Kaori Maeda will be voicing Shouko Futami

Banjo Ginga will be voicing Kyojiro Mikuriya

  In addition, Tomokazu Sugita, Saori Hayami, Chikahiro Kobayashi, Aya Endo, Tarusuke Shingaki, Hiroki Nanami, Shizuka Ishigami, Motomu Kiyokawa, will voice additional characters in the series. 

  NIGHT HEAD 2041 is a paranormal series that subscribes to the concept that 70% of the human brain goes unused (hence the "night head" referred to in the title), and that this is where supernatural abilities reside. The series stars Naoto and Naoya Kirihara, a pair of brothers who have harnessed a variety of supernatural powers; and the new Kuroki brothers, who work for the National Guard Unit hunting down psychics.

  NIGHT HEAD 2041 premieres on Fuji TV's +Ultra block on July 14 at 24:55 (effectively 12:55 am on July 15).

  Source: Comic Natalie

  ---- 

Daryl Harding is a Japan Correspondent for Crunchyroll News. He also runs a YouTube channel about Japan stuff called TheDoctorDazza, tweets at @DoctorDazza, and posts photos of his travels on Instagram.

By: Daryl Harding

[hatsunomio]

23年コンサート#23

2月23日　日立システムズホール仙台

高関健指揮仙台フィルハーモニー管弦楽団　「日本のオーケストラ音楽」展

武満徹　鳥は星形の庭に降りる（1977）

間宮芳生　児童合唱とオーケストラのためのコンポジション「子供の領分」（1963）

三善晃　交響三章（1960）

二月連続で仙台フィルのコンサートへ。遠征したくなるプログラムだ。

間宮芳生の合唱とオーケストラのためのコンポジション「子供の領分」の実演を聴くのは初めて。想像以上、いや衝撃的な面白さ。とくに急速楽章では、わらべうたのかけ合い、重なり、ときには複雑な絡み合いがあって、高関健氏の的確かつ愛のある導きに子供たちがついて来る（ちょっとヒヤッとする場面はあったが、それも良し）。素晴らしい。たまたまコンサートの前に宮城県美術館で佐藤忠良「おおきなかぶ」や山本忠敬「ピー、うみへいく」などの絵本の原画を見て、その生き生きした表現に心動かされた後だったから、間宮芳生の「子供の領分」を体験しての感激もひとしおだった。

（高関氏が話しているように、間宮芳生氏の作品にはコダーイとの繋がりを感じる。日本のオーケストラの定期演奏会でコダーイと間宮芳生の作品でプログラムを構成すれば、多くの人が、民族音楽、民衆の音楽が普遍的に楽しめる音楽として昇華するさまを実感できるのでは、と思うのだが）

三善晃の交響三章、やっぱり第3楽章がカッコいい。後半にテンポが上がってからの圧倒的な高揚感、その後、終結部で静まるが、粘らずすっきり曲が終わるのがモダンでスマートに感じられ、私的にとても好きだ。ケレンを排しつつ曲の熱���を充分に聴くものへ伝えてくれる高関健氏は流石、そして仙台フィルの健闘に拍手。

Sendai Philharmonic Orchestra

conductor Ken Takaseki

Toru Takemitsu A Flock Descends into the Pentagonal Garden

Michio Mamiya Composition for Chorus No.4

Akira Miyoshi Trois Mouvements Symphoniques

[clemsfilmdiary]

The Best of February 2021

Best Discovery: The Lonely Passion of Judith Hearne

           Runners Up: Bolero, I Married a Strange Person!, Lady Chatterley, Midori, Winter Light

           Honorable Mention: Malcolm & Marie

Best Rewatch: You Ain't Seen Nothin' Yet

           Runners Up: Gothic, Grave of the Fireflies, Woman in the Moon

Most Enjoyable Fluff: Evil Under the Sun

           Close Second: The Little Things

           Runners Up: The Fifth Cord, Garage Sale Mystery: All That Glitters, Gourmet Detective, The Husband She Met Online, If These Walls Could Talk 2, The Pajama Game, To Catch a Thief, Valentine's Again

Oddity of the Month: Midori

           Runners Up: Defenseless, Nomads

Best Male Performance: Gunnar Björnstrand in Winter Light

           Runners Up: Pierre Arditi in You Ain't Seen Nothin' Yet, Alan Bates in The Return of the Soldier, Sean Bean in Lady Chatterley, Paul Newman in Absence of Malice, John David Washington in Malcolm & Marie, Tom Wilkinson in In the Bedroom

Best Female Performance: Maggie Smith in The Lonely Passion of Judith Hearne

           Runners Up: Sabine Azéma in You Ain't Seen Nothin' Yet, Glenda Jackson in The Return of the Soldier, Joely Richardson in Lady Chatterley, Sissy Spacek in In the Bedroom, Ingrid Thulin in Winter Light, Zendaya in Malcolm & Marie

Best Supporting Performance: Vanessa Redgrave in If These Walls Could Talk 2

          Runners Up: Bob Hoskins in The Lonely Passion of Judith Hearne, Mary Beth Hurt in Defenseless, James Wilby in Lady Chatterley

Most Enjoyable Ham: Bo Derek in Bolero

           Close Second: Sharon Stone in If These Walls Could Talk 2

           Runners Up: Olivia D'Abo in Bolero, Carol Haney in The Pajama Game, Carol Kane in Office Killer, Sylvia Miles and Diana Rigg in Evil Under the Sun, Dylan Neal in Gourmet Detective, Franco Nero in The Fifth Cord, Kavan Smith in Garage Sale Mystery: All That Glitters, Nicky Whelan in Valentine's Again

Best Mise-en-scène: You Ain't Seen Nothin' Yet

           Runners Up: Early Spring, Gothic, Grave of the Fireflies, I Married a Strange Person!, Midori, The Pajama Game, 'Tis Pity She's a Whore, The Umbrellas of Cherbourg, Woman in the Moon

Best Locations: Evil Under the Sun

           Runners Up: Early Spring, The Fifth Cord, Lady Chatterley, 'Tis Pity She's a Whore, To Catch a Thief

Best Score: Lady Chatterley (Jean-Claude Petit)

           Runners Up: The Fifth Cord (Ennio Morricone), Gothic (Thomas Dolby), Grave of the Fireflies (Michio Mamiya), Midori (J.A. Shīzā), You Ain't Seen Nothin' Yet (Mark Snow)

Best Hunk: Aaron Eckhart in Wander

           Runners Up: Nicholas Clay in Evil Under the Sun, Alan Devlin in The Lonely Passion of Judith Hearne, Franco Nero in The Fifth Cord

Assorted Pleasures:

- Ghostly lighting and uncanny computer-generated sets in You Ain't Seen Nothin' Yet

- Lush, nostalgic landscapes and color design in Grave of the Fireflies

- Blissfully unpoliticized 90s genre-nostalgia of The Little Things

- Malcolm & Marie's timely calling out of woke racial condescension and aesthetically clueless ideological idiocy in contemporary film criticism

[fieldtracker]

#285 a long time ago

listen on mixcloud Charles Ditto - In Human Terms - Bush Charles Ditto - In Human Terms - World Anthem Ross Goldstein - The Eighth House - City of Rocks Ross Goldstein - The Eighth House - La Junta Ross Goldstein - The Eighth House - Unlimited Dream Company Tomas Nordmark - Eternal Words - Speaking Ayn Sof - Sodden Curve - Slow Decay Delia Derbyshire Appreciation Society - Wow And Flutter - The Fireflies of Manhatten Jon Neher & Michael Scott Dawson - Nothing Is On Fire - Be Here Now Jon Neher & Michael Scott Dawson - Nothing Is On Fire - Mono, Ontario Michio Mamiya - Grave of the Fireflies - Ending

[periodicoirreverentes]

CINE EXPRESS: “Hotaru no Haka (La tumba de las luciérnagas)”

CINE EXPRESS: “Hotaru no Haka (La tumba de las luciérnagas)”

Helena Garrote Carmena

Año: 1988 País: Japón Dirección y Guión: Isao Takahata Actores: Animación Música: Michio Mamiya Productora: Studio Ghibli Género: Drama – Infancia – II Guerra Mundial

Basada en la historia corta homónima de Akiyuki Nosaka Aparte del contundente mensaje antibelicista y la bella metáfora que enmarca este drama, lo admirable de esta adaptación, es la capacidad del director…

[subvocalized]

Here’s a song for you… No. 3 Miero vuotti uutta kuuta from Five Finnish Folk Songs - Edited Version by Michio Mamiya

https://open.spotify.com/track/3fJGSFxVoBuBk97TZrO2j8?si=XRPxu7nbTiGdlnMCHDSKEg