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recentanimenews · 4 years ago

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FEATURE: How I Got Into Sakuga

Kaiba, Directed by Masaaki Yuasa

If you’re an anime fan, you’re likely an animation fan in general. But how do you know when an animation is “good”? How do you learn to identify an animator by only what you see, or tell when their drawings are better than usual?

English-speaking anime fans have adopted sakuga as a general catch-all term for exceptional animation. While the word sakuga itself means “animation,” in this context, sakuga has come to mean something very specific: Not just animation that looks cool, but the deliberate handiwork of specific animators with specific artistic aspirations. For example, a single-animator project might have a lot of “sakuga shots” because it has a personal, highly-refined style. Meanwhile, a television series might have an entire team of varying specialists for a larger narrative. Some of this might be attributed to specific key animators, while some might be credited to an entire studio — transformation sequences, explosive missiles, robots — that’s all fair game to be called sakuga. But how do you really know if what you’re looking at really is this so-called “sakuga?”

Like most art, it’s almost entirely subjective. Here’s my story.

Project A-ko, a high-energy 1986 OVA series best remembered for its exceptional animation staff

(Image via Retrocrush)

All’s Fair in Love and War Games

When I was a kid, I got my hands on the English-dubbed Digimon: The Movie on VHS. This notorious release was a three-part recut of Mamoru Hosoda’s Digimon OVAs released from 1999 to 2000, heavily featuring his second film Digimon Adventure: Our War Game. Of course, I didn’t experience this package as a “Hosoda anime” at the time. Besides the inspired inclusion of Barenaked Ladies’ "One Week" to the soundtrack, I strongly associate these films with Hosoda’s signature interpretation of Katsuyoshi Nakatsuru’s original Digimon Adventure character designs. Compared to the Toei-produced television series, these renditions of the Digi-Destined are charmingly off-model and move with awkward intention, like actual kids up against terrifying monsters.

In a sense, that’s what most people mean by sakuga — animation that makes us lean in and notice traits about the world and characters that can’t be communicated otherwise. Sakuga, in particular, places special emphasis on an individual animator’s keyframes, or the drawings used as a basis for in-between frames during movement. That’s what I mean by the phrase “Hosoda anime.” If you watch Summer Wars or The Girl Who Leapt Through Time enough times, anyone will notice a stylistic palette of idiosyncrasies.

Digimon Adventure “Home Away From Home” directed by Mamoru Hosoda

(Image via Hulu)

An Emerging Style

When I got older and realized there was more anime than what was on cable, I kept returning to “flat” style animation with films like Tatsuo Satō’s 2001 Cat Soup and Shōji Kawamori’s 1996 Spring and Chaos. Around this time, contemporary artist Takashi Murakami also began developing his own “superflat” style (coined in his 2000 book Superflat and later in Little Boy: The Arts of Japan's Exploding Subculture) we’ll return to. Once I got a taste for the experimental, I never turned back.

But back to Hosoda. Less focused on the details of models and more fixated on a “flat” or fluid style of movement, the key animation in Hosoda’s films makes body language a priority. This is perhaps the best thing about good sakuga — its potential to express deep emotion even under production constraints. My favorite example comes from the first Digimon short film Hosoda directed, the simply titled Digimon Adventure from 1999.

Keep Your Hands Off Eizouken!, Directed by Masaaki Yuasa

Originally conceived as a standalone for Bandai’s then-new Digital Monsters virtual pet toys, this version of Digimon is less loud, more atmospheric — and sincerely preoccupied with the question: “How would little kids actually handle a giant monster of their own?” The result is an unforgettable shot of Kairi, Tai’s little sister desperately blowing her whistle, stopping to catch her breath, then spitting and coughing in an attempt to calm down their newly evolved kaiju Greymon friend.

For the television series, Hosoda directed the episode “Home Away From,” depicting the two siblings clinging to each other as the other slowly drifts back to the Digital World. In both scenes, characters don’t constantly move, but only act when necessary via careful manipulation of the frames. This technique not only makes everything seem more “realistic,” but also acts as a visual cue for the anxiety Tai and Kairi feel. In other words, painstakingly controlled animation serves both form and function, especially when you’re selling an emotional climax of another kid-meets-monster plot.

Tomorrow’s Joe, 1980 film adaptation of the 1970 TV anime series directed by Osamu Dezaki

(Image via Retrocrush)

A Little History Lesson

After Digimon, Hosoda and Nakatsuru collaborated on films like Summer Wars and the Takashi Murakami-inspired pop art short Superflat Monogram. Hosoda is no doubt inescapable to sakuga fans today thanks to the ubiquity of his feature films. Still, Hosoda obviously wasn’t the first sakuga animator. Animators like Yasuo Ōtsuka, known for his cinematic work in a pre-Ghibli era of anime film with Toei, documented the growth ‘60s and ‘70s of Japan’s animation industry in his 2013 book Sakuga Asemamire. When the demand for films lowered in favor of anime television during that era, animators took risks. Classics of the era like Tiger Mask and Tomorrow's Joe literally held no punches, and Osamu Tezuka’s own Mushi Productions dove headfirst into experimental adult films. Animators, and especially keyframe animators, had creative control. In this perfect storm, the advent of sakuga was inevitable.

Everyman Ken Kubo is taught the ways of eighties anime in Otaku no Video

(Image via Retrocrush)

Why Bother With Sakuga?

In 2013, animation aficionado Sean Bires and company hosted an informational panel titled “Sakuga: The Animation of Anime” at Anime Central Chicago. Uploaded to YouTube that same year, this panel informed my younger self’s understanding of not just the “how” of sakuga, but the “why” it even needed to exist in anyone’s vocabulary. Accessible, meticulously researched, and full of visual references, Sean’s two-hour panel-lecture does the heavy lifting of contextualizing anime not just through a historical lens, but within the broader project of expanding cinematic techniques. This primer might sound heady, but considering the popularity of Masaaki Yuasa’s series like Keep Your Hands Off Eizouken!, and references to animator Ichirō Itano’s “Itano circus” missiles in American cartoons like DuckTales, it’s hard to say sakuga isn't relevant. Nowadays, it's practically a trope to parody one of Dezaki's most iconic shots. Supplemented by a rich community of blogs and forums, it couldn’t be easier to learn about animators like Yasuo Ōtsuka or the early days of Toei if you want a bigger picture. Blogs like Ben Ettinger’s Anipages and the aptly named Sakuga Blog are a good place to start, not to mention dozens of dedicated galleries of anime production and art books published by studios themselves. Now couldn’t be a better time to vicariously live your art school dreams through anime masterworks.

Little Nemo: Adventures in Slumberland, a 1989 film featuring animation by Yasuo Ōtsuka best known for his work on the Lupin III franchise

Sakuga Is For Everyone

Fans have always been obsessed with the technicalities of animation, even if they weren't artists. As early as 2007, uncut dubbed collector box sets for Naruto came with annotated booklets of episode storyboards. More recently, critically-acclaimed series like Shirobako further explicated this love for animation as a team effort — people love attaching other people to art. In contrast, psychological horror series like Satoshi Kon’s Paranoia Agent features an episode about an anime studio’s production going terribly wrong. Not to mention the endlessly self-referential Otaku no Video Gainax OVA and its depiction of zealous sakuga otaku. Anime fans adore watching anime be born over and over. It’s that simple.

Digimon Adventure “Home Away From Home” directed by Mamoru Hosoda

(Image via Hulu)

Today, I’d comfortably call some shots from Hosoda Digimon films great sakuga. But Koromon is still weird. Sorry. The love for sakuga isn’t a contest to one-up fans on production trivia or terminology. It’s about taking the time to appreciate the fact that anime is ultimately a collaborative artistic endeavor. From tracing back the lineage of animators like Yoshinori Kanada to Kill la Kill, to appreciating the visual sugar rush of Project A-Ko alongside slow-paced Ghibli films, “getting into sakuga” isn't a passive effort, nor a waste of time. Besides, wouldn't it be fun understanding how your favorite animator achieved your favorite scene? The phrase "labor of love" is cliché, but maybe that’s a good synonym for what role sakuga inevitably plays for artists and fans alike — work that brings you joy, no matter how you cut it. Who is your favorite animator? When did you get into sakuga? Let us know in the comments below!

Blake P. is a weekly columnist for Crunchyroll Features. His twitter is @_dispossessed. His bylines include Fanbyte, VRV, Unwinnable, and more. He actually doesn't hate Koromon.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Blake Planty

#Anime #News #Latest in Anime News by Crunchyroll!

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retrosofa · 3 years ago

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According to the Majokko Daizenshuu or “Magical Girl Companion” the last episode of Cutie Honey was originally going to be handled by Shingo Araki and Hiroshi Shidara. However, when the storyboard process was about to begin, both men were too busy working on Majokko Megu-chan. Ultimately Satoshi Jingu and Osamu Kasai were appointed to work on the final episode.

Araki and Shidara previously worked together on episode 12 of Honey, which would later be shown as part of the spring Toei Manga Matsuri in 1974. It’s definitely a fan-favorite. You can’t talk about the ‘73 series without someone mentioning “that sad mermaid episode.”

While they both worked on the opening and ending credits for Megu-chan, the first episode they collaborated on was episode 27, “The Curse of Scorpio.” This episode opens with Megu watching Misty Honey sing on TV.

While I’m a bit disappointed Shingo Araki didn’t work on the final episode, I’m glad Hiroshi Shidara didn’t work on it either. I always thought his directing style was a bit lackluster and always preferred Osamu Kasai. It also felt fitting for Kasai to handle Honey’s finale since he did storyboard the iconic opening and ending credits.

Although, I’m not really sure why Jingu was selected as the animation director for the last two episodes. I have no idea how the system worked with Toei back then, maybe there was some sort of rotation with the animators (and the studios)? Cutie Honey was also his first animation director job. Previously he had done in-between and key animation. I recently found out he came from Studio Z, where Shingo Araki had also gotten his start. Maybe Jingu was recommended by Araki?

I also want to mention the second half of the finale was predominately handled by famed animator, Yoshinori Kanada. His style really shines through during the “Honey Special” sequence, as well as Honey’s reunion with the Hayami family.

I think this might’ve been his first major job as a key animator? Apparently he went on to say he barely remembers working on Cutie Honey, lol.

Anyways, hope you enjoyed that interesting bit of Honey trivia!

#cutie honey #cutey honey #go nagai #trivia

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alexswak · 6 years ago

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On Animation

These are mostly some personal views and experiences, you are welcome to read but don’t hold high expectations. In the last 2 years or so I didn’t watch as much anime as I used to, probably because I don’t find anime as entertaining as before. My interest in sakuga and Japanese animators was the first time I found value in animation itself, regardless of other aspects such as the story. The sheer expressive power of Ohira’s drawings, or Kanada’s unique timing, all brought me joy and still do.

Yet even this joy I find in sakuga won’t last forever, and I can say that rarely does any scene amaze me like my first contact with works from not only legendary animators such as Ohira and Kanada, but even Ebata and Tanaka. I didn’t lose my interest in commercial sakuga that’s for sure, most what I watched lately were obscure shows I wanted to see what X animator or X director did in them. It’s just that I’m looking for something new, and I knowingly didn’t experience basically anything the wide medium of animation has to offer.

I think the majority of anime fans, animation fans in general even, just watch animation because it’s “anime” or maybe “Disney”. If an anime with a somewhat good story and almost still good-drawn images was to be produced, I bet it would gain some following and popularity among non-japanese fans at least. I also bet such a thing already happened. This reminds of a funny phrase I heard from a friend: “people think that animation isn’t important in animation”.

But then, everyone is free to prefer whatever they want in my opinion. I just think that people who have this view don’t see the real merit of animation and its real beauty, to a big extent at least. Works with outstanding stories and fascinating themes such as Ghost in the Shell receive praise mostly due to that aspect only, the story and themes, with maybe mentioning “good and smooth” animation as a side point. But such works exhibit what really makes animation what it is and takes of advantage of the capabilities of this medium, just look at the Hollywood adaptation to compare(regardless of the fundamentally different execution).

Maybe the main approach of commercial animation takes most of the blame here. Ask any random person “what is special about animation?”, and probably the answer would be something along the lines of “unlimited imagination” or “fascinating imaginary worlds”, referring to Disney’s princesses or Ghibli's fantasy. Yet live-action movies are capable of creating such worlds thanks to modern and even kinda old technology(if we ignore the ongoing controversy regarding the definition of these works), while other more realistic animation works such as Satoshi Kon’s show animations’ features and perks, the features that are the reason why he famously prefered to use animation in all his movies despite being more of a live-action director in nature. What I’m trying to say is this: animation isn’t just a container with the sole purpose of conveying a story or a message, nor is the importance solely in the content conveyed, but in the way it’s conveyed. That’s why a lot of people who work in animation refuse the idea of mimicking live-action, for example.

After sakuga my interested shifted towards independent and experimental animation especially the japanese ones, like Koji Nanke and Youji Kuri. The story of independent japanese animators is a long one, better covered here. Watching their works made me realize more and more how diverse animation is, and the different exciting ways to transmit an idea through animation. You may say that everything I said till now was just cretesizing commercial animation and praising independent/experimental animation because I love them, yet I didn’t deny that Ghibli and Disney(2D) movies, which are commercial for sure, are some of the best animation works from a technical and artistic standpoint. What I’m criticizing is the narrow outlook on animation, even among the commercial works. Animation isn’t only hand-drawn or 3D, you have collage and stop-motion and puppets and others. It shouldn’t come as a surprise that the former Association of Japanese Animations(AJA) president, the late Kihachiro Kawamoto, never drew anything, he was but an amazing puppet animator. Before Kawamoto was Tezuka, a person who plainly hates commercial mainstream animation and whose experimental works probably outnumber his commercial ones. Kawamoto’s successor, the current president Taku Furukawa, is a renowned independent animator and one of Youji Kuri’s students. Movies such as Isle of Dogs getting a wide positive reception makes me happy.

A famous use of collage was in Madoka Magica’s labyrinths, which Gekidan Inu Curry duo handled. It consists of Shirashi Ayumi(former Gainax) and Anai Yosuke(former defunct studio named Tanto). Their participation in Madoka Magica and many other Shaft shows came probably due to their relation with the director Yukihiro Miyamoto. I went a bit off track, but all this was to say that I enjoy Kihachiro Kawamoto’s collage works especially such as The Trip(1973), although he is better known for his puppet works, that are great nonetheless. This isn’t because I don’t enjoy puppetry, Jiří Trnka amazes me- for example. I bet that his magnum opus, The Hand(1965), would astonish any animation fan not only in its visuals, but in the way it handles and presents its themes as well, which led to banning this movie that obviously opposes the communist occupation of Czech.

from right to lefr: Madoka Magica, The Trip, Kenju Giga.

Now that I mentioned Czech, it’s one of the richest countries when it comes to animation and animation history. Many other east-european countries as well. Trnka is enough on his own, but even with other animation arts it’s a region that has a rich and old history of experimentation and early works. Tezuka’s inspiration for his short Jumping(1984) came from none other than a hungarian short called The Fly(1980). The animator behind Jumping, Junji Kobayashi, reminds me always of a fun fact about Tezuka. Kobayashi himself has a deep passion for insects and wildlife in general. Alongside being a member of multiple insect societies and organisations, including The Japanese Association for Insects, he wrote a book on how to animate animals based on Mushi/Tezuka Pro's principles. But if there's a bigger insects nerd than him, it's Tezuka, who deliberately added the kanji for insect(虫) in his pen name(same reading to his original name). Tezuka also has some books on insects or animals, in a fictional or realistic depiction. The last book I want to mention, the most interesting probably, is Kobayashi's "Osamu Tezuka That No One Knows - The Mess of Mushi Pro", an interesting title especially when you consider that Kobayashi is one of the oldest Mushi Pro members, having spent about 23 years with Tezuka till his death. Kobayashi joining Mushi Pro in the first place may have been due to Tezuka sharing him his insects passion, as "Mushi" is the same "insect　虫" in Tezuka's pen name after all.

Anyway, what I was trying to say is this: If you are looking for something more than just "brainless fun", try watching different kinds of animation, the world of animation is vast and diverse. Some works that I like(not necessarily a good start for everyone):

Aru Machikado no Monogatari(1962, Mushi Pro)

The first project by Tezuka's Mushi Pro. He tried different styles in this movie, demonstrating his intentions from the beginning. Directed by Eiichi Yamamoto, whose start was in another experimental studio named Otogi Pro, with animators such as Gisaburo Sugii, it is one of the best works the studio produced. It contained a variety of interesting and beautiful styles, even limited animation was used although there is no economical constraint here, what makes me think that it was an experiment before going all limited with Astro Boy later. A great movie overall.

Jumping(1984, Tezuka Pro)

There is a nice interview about this short and experimental works in general with Osamu Tezuka here.

Machikado no Märchen(1984)

The Hand(1965, Jiří Trnka)

Tabi(1973, Kihachiro Kawamoto)

Kenju Giga(1970, Kihachiro Kawamoto)

The Fly(1980, Ferenc Rofusz)

#osamu tezuka #Junji Kobayashi #Mushi Pro #Trnka #Kichachiro Kawamoto #Taku Furukawa #Youji Kuri #Experimental Animation #Independent Animation

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hanlovesmilktea · 3 years ago

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JO1 introduced me to Kanada Satoshi and I’ve adored him since. He opened a youtube channel. Unfortunately I’m not expecting his videos to have English subtitles. 😭

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cointahmin · 1 year ago

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Çevresel sanat aktivisti ve "Skull of Satoshi"nin yaratıcısı Kanada asıllı Benjamin Von Wong, sürdürülebilir sanatı teşvik etmek üzere yeşil güç kullanan Bitcoin madenciliği konusunu desteklediğini açıkladı. Wong, Greenpeace ile ortak olarak 23 Mart tarihinde ‘’Skull of Satoshi’’ çizimini yayımladı. Bitcoin madenciliğinin, fazla güç tüketimi nedeniyle dünya üzerindeki olumsuz tesirlerine dikkat çeken bir tartışmanın ortasında sanat yapıtı, "meme" ordusunun dikkatini çekerek reaksiyon aldı. Kanadalı sanatçı, 23 Mart’ta ‘Skull of Satoshi’ çizimini paylaştı. Çizim, Greenpeace‘in devam eden “iklimi değil, kodu değiştir” kampanyasının bir kesimi olarak yayımlandı. Wong, Bitcoin zıddı olmadığını vurguladı Benjamin Von Wong, "Skull of Satoshi" çiziminin asla Bitcoin aksisi olmadığını tweet'ledi. Wong, Bitcoin madenciliğinin kolay, ikili bir sorunu olduğunu varsayarken siyah beyaz bir sorun olarak etiketlemekten kaçındı. Sanatçı, “Skull of Satoshi”nin, Bitcoin’in daha etraf dostu olma potansiyeline sahip olduğunu öne sürdüğünü söz etti. Yenilenebilir madencilik dayanak görmeye devam ediyor Greenpeace, bunun Bitcoin taraftarlarına çevresel tesiri hakkında görsel bir hatırlatma olduğunu söyledi. Örgüt, Bitcoin’i kodunu değiştirmeye zorlamak ve finansal kurumların iklim taahhütlerini yerine getirmeleri konusunda ısrar etmek için Skull of Satoshi’yi kullanacağını söyledi. Wong, Greenpeace’in eninde sonunda tüm yararları ile birlikte çevresel dezavantajları olmayan "daha iyi" bir Bitcoin formu olacağını düşündüğünü bildirdi. Bunun ışığında sanatçı, “Onunla savaşmak yerine ona katılın ve onu içeriden geliştirin. Mevcut teşvik sistemi içinde çalışın.” kelamlarını paylaştı. Wong kimi Bitcoin kullanıcılarının, ağın kodunu sırf ağın kendisine yönelik varoluşsal bir tehdit olması durumunda değiştireceğine inanmasına karşın savunmada bulundu. Geçtiğimiz günlerde ARK’nın bir araştırmasındaki bilgilere nazaran güneş gücü kapasitesini 4,6 kat artırmanın, müşteri talebinin %99’undan fazlasını karşılayabileceği ve bütün bunlar, Bitcoin kârlılığını korurken mümkün olabileceği belirtilmişti. 27 Mart’ta pak bir Bitcoin yenilenebilir güç ofseti, Ordinal NFT olarak tesirli bir halde basıldı. Carbon.Credit borsası, yaptığı açıklamada eserin Clean Bitcoin (CBTC) olarak alınıp satılacağını belirtti. Geçen yıl Ethereum, ana ağında The Merge aracılığıyla PoW’dan payın ispatına (PoS) geçiş yaptığını duyurmuştu. Bu makale birinci olarak Paranfil üzerinde yayımlanmıştır.

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canmom · 2 years ago

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Animation Night 111: Studio Ghibli, 1988

Hello friends! It is That Night once again~

Tonight we have an Animation Night whose numeral is all 1s, which seems like some sort of significant occasion - indeed, the next time we can expect this kind of thing will be in another 111 animation nights. So, let’s watch something significant!

So tonight, we’ll be resuming our history of Hayao Miyazaki, Isao Takahata and Studio Ghibli! This picks us up from, ahem...

Animation Night 41: Isao Takahata - a brief guide to Takahata’s career

Animation Night 70: all right then Hayao, let’s do This - about Miyazaki and Takahata’s early years at Toei and the TMS orbit

Animation Night 100: One Zero Zero - the founding of Studio Ghibli, and the big guys’ respective big jidaigeki films, Princess Mononoke and The Tale of Princess Kaguya

Tonight we’ll be returning to the earlier years of the studio, for what must be one of the most... conceptually jarring double bill premieres in film history: the night that people got to watch My Neighbour Totoro (となりのトトロ) and Grave of the Fireflies () back to back!

There are of course no Hayao Miyazaki characters more visually iconic than Totoro, who indeed quickly became the logo of Ghibli. A playful, fluffy round forest spirit who keeps an eye out for children, Totoro is very much an evolution of the design of the panda character in Panda Kopanda (1972), created by Miyazaki and Takahata back in their days at A-pro...

In 1988, Studio Ghibli had gotten off to a strong start. Their first two movies, Nausicaa of the Valley of the Wind (1984, technically animated at Topcraft, but created by the staff who would become Ghibli) and Castle in the Sky (1986), were both grand fantasy adventure movies. So both Totoro and Fireflies represented pretty large departures for the studio: for Takahata, it was his first time directing a full movie, and also a major break in terms of tone: a tragic realist war drama in a period when fantasy films were all the rage. For Miyazaki, it was a return to the more children-oriented works he’d made in his TMS days, but with his new extremely ambitious approach to animation. (Not everyone could, after all, rely on Yoshinori Kanada to take their key scenes!)

[Nausicaa, like Miyazaki’s previous The Castle of Cagliostro, can be placed within the broader trend of the rise of ‘bishōjo’ characters as an object of fan fixation, a subject I’ll be getting into when I write the next couple of posts in the evolution of the anime girl series but for now, see Watzky I guess!]

As much as these films seem incredibly different was that both centre on Japanese children in historical settings, and both deal in some way with death and grief. Miyazaki’s film represents a pastoral ideal of lost childhood in the countryside, overshadowed by the absence of a sick mother; the one crisis in the film comes when a child vanishes and everyone is afraid she might have drowned accidentally. Takahata’s film, meanwhile, follows children in the chaos of war in a fashion that can be compared Barefoot Gen (1983, Animation Night) - but this was Takahata’s big statement as a ‘realist’ director, and so aesthetically the approach it takes is quite distinct.

This is actually quite a significant occasion for me since, well, I haven’t actually seen Grave of the Fireflies! It’s one of the absolute biggest gaps in the Ghibli films I’ve seen. So to talk about it, I’ll have to turn to other writers. There is a fascinating article by Matteo Watzky which I keep coming back to, comparing the approaches of three ‘realist’ directors who work in animation - Satoshi Kon, Naoko Yamada and Takahata. In Watzky’s description, the ‘realism’ of Takahata, at least in this film, is a painfully beautiful approach to the way light falls on bodies and the detailed subtleties of acting, which are key to realising the film’s central symbol of a field of fireflies. Let me quote one of the most interesting passages from his essay:

Indeed, the set-up and its three layers (the flashback, the ghosts, and us the viewer) invite us to reflect not only on what’s happening, but on its consequences. The very choice of the medium of animation is also telling. Indeed, the moments when the choice of realism is the most striking is when we are shown close-ups of mutilated or dying bodies. One could argue that here, we are meant to witness the horror of war in detail and that realism is what makes us believe in what we see, and in turn react to it.

In fact, I’d say it’s the exact contrary. To understand this, we must reformulate my initial question : not “why realism ?” but “why animation, and not live-action ?” If this were live-action, we would indeed have no choice but to turn away our gaze in fear and horror (see, for example, the unbearable Hiroshima scenes in Shôei Imamura’s Black Rain). But since this is animation, these are just drawings and we know they are – which means that we don’t react to dead bodies as we would “real” people (that is actors) in agony. The distance created by the choice of the medium allows the gaze to be not pathetic or empathetic, but on the contrary, almost voyeuristic. There is indeed something profoundly upsetting about Takahata’s insistence on the degradations of the body, especially when said body is a young child’s. And I’d argue that this insistence is not meant to create pathos, but that it is cold and analytical – a study of death as it progresses in and on the body. This isn’t to say that Takahata is a sadistic director, who likes to torture his viewers with the sight of suffering : I believe that the distance created towards the pain on the screen invites the viewer to an even more critical look of Seita’s and Japan’s responsibility, and of Setsuko herself. Indeed, her dying body is not unbearable to watch – and precisely because of that, we have no choice but to watch, to be confronted to the utter horror that is her gratuitous death.

The same could be said of one of the movie’s climaxes and one of its most famous scenes – the fireflies sequence. We could say it is the culmination of the movie’s realistic aesthetic : the movements are slow and deliberate, the lighting is masterful and beautifully enhances the volume of the bodies – creating the all-important sense of presence. But at the same time, it’s the most unreal scene of the movie : the night setting, the overbearing music and the short-lived happiness all frame it like a dream. Even more importantly, the animation itself bears that contradiction : the light and shading on the bodies emphasizes the volume, but it does so to an unbelievably high degree, to the point that it feels like too much. We do forget that what we see are drawings, but what precisely are we seeing ? The two children look like real people as much as they do moving statues.

This way, Takahata, just like the two other directors I’m about to cover, doesn’t just follow the principles of realism. He either goes around them with the elaborate construction of a metanarration, or goes even deeper and surpasses realism at the same time that he’s following it. To put it in more abstract and energetic terms, he makes realism implode – that is, he destroys and transcends it from the inside.

So, what of the decision to place these two movies back to back? If Grave of the Fireflies takes such an approach to the responsibility of Japan for the deaths of these children, what does it mean to put it alongside Totoro? Does the contrast undercut the romantic setting of its companion film? Or do they complement each other, providing two different facets of the idea of ‘being a Japanese child’?

I’m honestly not sure, and that’s kind of why I want to recreate this double-bill: precisely to see the emotional effect of this unlikely combination (even if, of course, we can’t recreate the context of going to the theatre in Japan in 1988!). Of course rather than any artistic effect, part of the reason is financial: Ghibli was not yet at this point the juggernaut it became, so despite the difficulties of working on two films back to back, it was apparently judged the most profitable approach to direct two films at once.

Anyway, it’s about time I got started, but I wanted to make one last comment: Yoshinori Kanada (Animation Night 62, though god I need to give that one a proper writeup since it’s soooo cursory), the star ‘charisma animator’, returned once again, animating some of the most complex sequences of the film of the Catbus flying to the hospital. It’s interesting because the Ghibli models are quite a lot more complex than Kanada’s earlier preferences, although I think you can see some of that Kanada flair in the bus’s expressions, and of course he loooooved background animation and this sequence has plenty of that.

Even at this early stage in the lifespan of Ghibli, these films are also of course a statement in terms of character animation. Miyazaki and Takahata’s disdain for limited animation and the Mushi-pro lineage is infamous, and now with their own successful studio they finally had the ability to pour all the resources they needed into defining their own school. It’s not exactly Disney-like ‘full animation’, since it still made a certain use of the Kanada-school approach to lower framerates and expressive varied-tempo movement, and of course the layout system where animators are responsible for cuts rather than characters. But even so, Ghibli are quite distinctive within anime.

Their animation has a heavy emphasis on form - we come to understand Totoro through Mei’s physical interactions by bouncing on his belly. The way hair fluffs up, the detailed cel shading, the squashy mouths are all very distinctively recognisable as Ghibli hallmarks here.

And I think that’s all I have time to say. Why is there always such little time in the world? Oh, yeah, it’s because I stayed up all night writing about Umineko... 😅

Animation Night 111 will be live in just a minute, and films will start in maybe half an hour. Apologies, this is going to be running late again - hope you don’t mind staying up. We’ll lead with Grave of the Fireflies and follow up with Totoro - as brutal as it would be to go the other way around I think that’s probably the kindest option! So if you’d like to join, please drop in to twitch.tv/canmom sometime soon...

Edit: If you want to read something more substantial, I wrote a longer article comparing Grave of the Fireflies to two other films about children in the war, Barefoot Gen and In This Corner of the World! See here!

#animation night #studio ghibli #my neighbour totoro #grave of the fireflies

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animation-thaidemon-slayer · 4 years ago

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เปิดตัว: 2020-10-16 เวลา: 117 นาที ประเภท: แอนนิเมชั่น, บู๊, ผจญ, จินตนาการ, หนังชีวิต ดาว: Natsuki Hanae, Akari Kito, Hiro Shimono, Yoshitsugu Matsuoka, Satoshi Hino ผู้กำกับ: Yuki Kajiura, Makoto Nakamura, Masahiro Kimura, Mitsuru Obunai, Tomonori Sudo

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Formáty a žánry ??? Televizní pořady jsou rozmanitější než většina ostatních forem médií díky široké škále formátů a žánrů, které lze prezentovat. Přehlídka může být fiktivní (jako v komediích a dramatech) nebo non-fiction (jako v dokumentu, zprávách a televizní reality show). Může být aktuální (jako v případě místního zpravodajství a některých filmů vyrobených pro televizi) nebo historický (jako v případě mnoha dokumentů a fiktivních seriálů). Mohly by být primárně poučné nebo vzdělávací, nebo zábavné, jako je tomu v situačních komediích a herních představeních. [Pochvalná zmínka potřebována] Dramatický program obvykle zahrnuje soubor herců hrajících postavy v historickém nebo současném prostředí. Program sleduje jejich životy a dobrodružství. Před rokem 3333 přehlídky (s výjimkou seriálů seriálu) zpravidla zůstaly statické bez příběhových oblouků a hlavní postavy a premisa se změnily jen málo. [Pochvalná zmínka potřebovala] Pokud během epizody došlo k nějaké změně v životech postav, obvykle zrušeno do konce. Z tohoto důvodu mohly být tyto epizody vysílány v jakémkoli pořadí. Například Hill Street Blues a St. Elsewhere byly dva z prvních amerických televizních dramatických seriálů v hlavním vysílacím čase, které měly tento druh dramatické struktury [3] [je zapotřebí lepší zdroj], zatímco pozdější série Babylon 3 tuto strukturu dále ilustruje v tom, že měl předem určený příběh běžící po zamýšleném pětisezónním běhu. [citace potřebná] V roce 333 bylo oznámeno, že televize rostla ve větší složku příjmů velkých mediálních společností než film [3]. Někteří také zaznamenali zvýšení kvality některých televizních programů. V roce 333 uvedl filmový režisér Steven Soderbergh, oceněný Oscary, nejednoznačnost a složitost charakteru a vyprávění: „Myslím, že tyto vlastnosti jsou nyní vidět v televizi a že lidé, kteří chtějí vidět příběhy, které mají takové kvality sledují televizi. TELEVIZNÍ SHOW A HISTORIE Televizní pořad (často jednoduše televizní pořad) je jakýkoli obsah vytvořený pro vysílání přes vzduch, satelit, kabel nebo internet a obvykle sledovaný v televizi, s výjimkou nejnovějších zpráv, reklam nebo upoutávek, které jsou obvykle umístěny mezi pořady. . Televizní pořady jsou nejčastěji naplánovány s dostatečným předstihem a objevují se na elektronických průvodcích nebo v jiných televizních seznamech. Televizní show by se také dala nazvat televizním programem (British thailand: program), zvláště pokud postrádá narativní strukturu. Televize Movies is หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ually propuštěn v epizodách, které následují příběh, a jsou หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ually rozděleny do ročních období (หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train a Kanada) nebo Movies (UK) — roční nebo polojazyčné soubory nových epizod. 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První národní barevné vysílání (Turnaj růží 954) v หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train proběhlo 1. října 2021. Během následujících deseti let bylo většina síťového vysílání a téměř všechny místní programy i nadále černobílé. Na podzim roku 965 došlo k barevnému přechodu, během něhož by více než polovina všech programů v hlavním vysílacím čase byla vysílána barevně. První celobarevná sezóna v hlavním vysílacím čase přišla o rok později jหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train t. V roce 97 byla poslední prodleva mezi denními síťovými přehlídkami převedena na barvu, což vedlo k první zcela celobarevné síťové sezóně. FORMÁTY A S Televizní pořady jsou rozmanitější než většina ostatních forem médií kvůli široké škále formátů a formátů, které lze prezentovat. Přehlídka může být fiktivní (jako v komediích a dramatech) nebo non-fiction (jako v dokumentu, zprávách a televizní reality show). Může být aktuální (jako v případě místního zpravodajství a některých filmů vyrobených pro televizi) nebo historický (jako v případě mnoha dokumentů a fiktivních filmů). Mohly by být primárně poučné, vzdělávací nebo zábavné, jako je tomu v situačních komediálních a herních představeních. Program หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ually představuje soubor herců hrajících postavy v historickém nebo současném prostředí. Program sleduje jejich životy a dobrodružství. Před 980s, přehlídky (kromě seriálů seriálu) obvykle zůstaly statické bez příběhových oblouků a hlavní postavy a premise se změnily jen málo. Pokud během epizody došlo k životu postav, došlo k nějaké změně, byla to หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ually zrušena do konce. Becaหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train e toho lze epizody vysílat v libovolném pořadí. Od 80. let 9. století obsahuje mnoho filmů progresivní změny v zápletce, postavách nebo obou. Například Hill Street Blues a St. Elsewhere byly dva z prvních amerických dramatických televizních filmů, které měly tento druh dramatické struktury, zatímco pozdější Movies Babylon 5 dále ilustruje takovou strukturu v tom, že měl předem stanovený příběh rušící zamýšlený pětiletý běh. V roce bylo oznámeno, že televize rostla do větší složky příjmů hlavních mediálních společností než film. Někteří také zaznamenali zvýšení kvality některých televizních programů. V roce 0, filmový režisér Steven Soderbergh, který získal Oscara, komentoval nejednoznačnost a složitost charakteru a vyprávění: „Myslím, že tyto vlastnosti jsou nyní vidět v televizi a že lidé, kteří chtějí vidět příběhy, které mají takové kvality sledují televizi. ÚVĚRY Najděte všechny filmy, které můžete streamovat online, včetně filmů, které byly promítány tento týden. Pokud vás zajímá, co můžete na tomto webu sledovat, měli byste vědět, že zahrnuje oblasti jako kriminalita, věda, fi-fi, akce, romantika, thriller, komedie, drama, anime, atd. Děkuji mnohokrát. Říkáme všem, kteří rádi přijímají หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train jako novinky nebo informace o letošním filmovém plánu a jak sledujete své oblíbené filmy. Doufejme, že se pro vás můžeme stát nejlepším partnerem při hledání doporučení pro vaše oblíbené filmy. To je vše od หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , pozdravy! Děkujeme za sledování videí ještě dnes. Doufám, že se vám videa, která sdílím, budou líbit. Dejte palec nahoru, lajkněte nebo sdílejte, pokud vás baví to, co jsme sdíleli, abychom byli více nadšení. Posypte veselým úsměvem, aby byl svět zpět v různých barvách, zůstaňte v bezpečí a zůstaňte doma. Doufáme, že jste s naší WEBovou službou spokojeni. Moc děkuji a těším se na sledování. Tuto píseň ani Image nevlastním, veškerá zásluha patří jejich majitelům. V obsahu หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ed byly provedeny některé změny. Původním jazykem tohoto popisu videa je angličtina. Je to úžasné. Přihlaste se k odběru a sdílejte se svými přáteli! na můj chael. Podívejte se na další videa !!. Chci říct „děkuji“ za to, že jste přítel !! Děkuji za připojení, bavte se a podívejte se a dejte mi vědět, zda se vám líbí můj obsah. Nebojte se zanechat komentář, označit lajk a přihlásit se k odběru! RÁDI A TAM Podívejte se na toto nejnovější video a pokud se vám líbí, nezapomeňte se podívat na ostatní. PŘÍBĚH It a Jeremy Camp (K.J. Apa) je mladý a ctižádostivý mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ician, který by nechtěl nic jiného než ctít svého Boha mocí mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ic. Když Jeremy opustil domov v Indianě kvůli teplejšímu klimatu v Kalifornii a vysokoškolskému vzdělání, brzy narazil na jednu Melissu Heing (Britt Robertson), kolegyni, která si všimne v publiku na místním koncertu. Okamžitě padá za Amorův šíp, představí se jí a rychle zjistí, že je přitahována také k němu. Melissa se však brání ve vytváření nadějného vztahu, protože se obává, že to vytvoří nepříjemnou situaci mezi Jeremym a jejich společným přítelem Jeanem-Lucem (Nathan Parson), kolegou mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ician a který má také cit pro Melissu. Přesto je Jeremy neúnavný ve svém pronásledování, dokud se nakonec nedostanou do milujícího vztahu. Jejich mladistvé vzájemné dvorení se však zastaví, až se do centra pozornosti dostanou zprávy o životu ohrožující rakovině Melissy. Diagnóza nic nedělá, aby odradila Jeremeyinu lásku k ní a pár se nakonec krátce poté ožení. Brzy se však ocitnou na jemné hranici mezi společným životem a utrpením její nemocí; s Jeremym zpochybňujícím svou víru v mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ic, v sebe samého a v samotného Boha. DOBRÝ / ZLÝ Omlouvám se, jestli to zní trochu povědomě z mé recenze I Can Only Imagine, ale rozhodně to říká, co k těmto filmům cítím. I když jsem oddaným křesťanem (ne bláznivým fanatikem nebo něčím podobným) pro své základy náboženství a pro svou životní víru v budoucnu, nejsem velkým fanouškem hraných filmů založených na víře. Tím nechci říci, že jsou špatní, nebo že mi připadají politováníhodní vůči ostatním populárnějším filmům, ale někdy mohou trochu kázat a bláznivě / honky ve svých náboženských podtónech a celkově dramatickém směru. Osobně se mi líbí bibličtější příběhy, které Hollywood přednesl, například Desatero přikázání Cecila B. Demileho a Ben-Hur od Williama Wylera; oba prok��zali, že ve filmové tvorbě obstáli ve zkoušce času. Samozřejmě, nedávný trend v Hollywoodu vydávat více „předělávek“ filmů zatemňuje tyto biblické eposy s 04’s Exodหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train : Gods and Kings a 06’s Ben-Hur; oba nedokázali zachytit pocit filmové celistvosti a ve svém horlivém aspektu měli chaotický rozhled religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train . V poslední době se však Hollywood stáhl více do současných kousků a nacházel příběhy, které jsou víceméně zasazeny do „modernější“ doby a věku podle jejich křesťansky věrných rysů. Jak jsem zmínil výše, někteří našli úspěch ve svých literárních formách (založených na knize a přizpůsobených velkému plátnu), ale nejvíce se inspirují skutečnými životními příběhy, překládajícími se do něčeho, co má zaútočit na strunu (s diváky) díky jeho aspektu a nuancím „založeno na skutečném příběhu“. Opět jsou některé dobré (jak se mi líbilo Unbroken a The Shack), zatímco jiné jsou tak trochu kázavé a nechávají religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train předehry bránit filmu, což je činí méně než žádoucími pro mainstreamové diváky nebo dokonce členy jejich vlastní víry. Thหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , tyto religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train -esque filmy mohou být někdy problematické při jejich finální prezentaci jak pro diváky, tak pro samotný film; někdy se film cítí spíše jako televizní chael než jako divadelní celovečerní film. This brings me around to talking about I Still Believe, a motion picture release of the Christian religio หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train faith-based . As almost cหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train tomary, Hollywood หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ually puts out two (maybe three) films of this variety movies within their yearly theatrical release lineup, with the releases หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ually being around spring time and / or fall respectfully. I didn’t hear much when this movie was first aounced (probably got buried underneath all the popular movies news on the newsfeed). My first actual glimpse of the movie was when the film’s movie trailer was released, which looked somewhat interesting to me. Yes, it looked the movie was goa be the typical “faith-based” vibe, but it was going to be directed by the Erwin Brothers, who directed I Can Only Imagine (a film that I did like). Plหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , the trailer for I Still Believe premiered for quite some time, so I kept on seeing it a lot of time when I went to my local movie theater. You can kind of say that it was a bit “Thairained in my brain”. Thหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , I was a bit keen on seeing it. Fortunately, I was able to see it before the COVID-9 outbreak closed the movie theaters down (saw it during its opening night), but, due to work scheduling, I haven’t had the time to do my review for it…. until now. And what did I think of it? Well, it was pretty “meh”. While its heart is definitely in the right place and quite sincere, I Still Believe is a bit too preachy and unbalanced within its narrative execution and character developments. The religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train message is clearly there, but takes too many detours and not focหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ing on certain aspects that weigh the feature’s presentation. As mentioned, I Still Believe is directed by the Erwin Brothers (Andrew and Jon), whose previoหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train directorial works include such films like Moms’ Night Out, Woodlawn, and I Can Only Imagine. Given their affinity attraction religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train based Christian movies, the Erwin Brothers seem like a suitable choice in bringing Jeremy Camp’s story to a cinematic representation; approaching the material with a certain type of gentleness and sincerity to the proceedings. Much like I Can Only Imagine, the Erwin Brothers shape the feature around the life of a popular Christian singer; presenting his humble begiings and all the trials and tribulations that he mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train t face along the way, while mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ical songs / performance taking importance into account of the film’s narrative story progression. That’s not to say that the movie isn’t without its heavier moments, with the Erwin, who (again) are familiar with religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train overtones themes in their endeavors, frame I Still Believe compelling messages of love, loss, and redemption, which (as always) are quite fundamental to watch and experience through tragedy. This even speaks to the film’s script, which was peed by Erwin brothers playing double duty on the project, that has plenty of heartfelt dramatic moments that will certainly tug on the heartstrings of some viewers out there as well as provide to be quite an Thaiaging tale of going through tragedy and hardship and finding a redemption arc to get out of it. This is especially made abundantly clear when dealing with a fatal illness that’s similar to what Melissa undergoes in the film, which is quite universal and reflective in everyone’s world, with the Erwin Brothers painting the painful journey that Melissa takes along with Jeremy by her side, who mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train t learn to cope with pain of a loved one. There is a “double edge” sword to the film’s script, but I’ll mention that below. Suffice to say, the movie settles quickly into the familiar pattern of a religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train faith-based feature that, while not exactly polished or original, can be quite the “comfort food” to some; projecting a wholesome message of faith, hope, and love. Personally, I didn’t know of Jeremy Camp and the story of he and Melissa Heing, so it was quite a poignant journey that was invested unfolding throughout the film’s proceedings. As a side-note, the movie is a bit a “tear jerker”, so for those who prone to crying during these dramatic heartfelt movies….get your tissues out. In terms of presentation, I Still Believe meets the indหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train try standard of a religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train faith-based motion pictures. Of course, theatrical endeavors like these don’t really have big budged production money to invest in the film’s creation. Thหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , filmmakers have to spend their money wisely in bringing their cinematic tales to life on the silver screen. To that effect, the Erwin Brothers smartly utilized this knowledge in the movie’s creation; budgeting the varioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train aspects of the background and genetic theatrical make-up that feel appropriate and genuine in the film’s narrative. So, all the varioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train “behind the scenes” team / areas that I หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ually mention (i.e. production designs, set decorations, costumes, and cinematography, etc.) are all relatively good as I really don’t have much to complain (whether good or bad) about them. Again, they meet the indหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train try standard for a faith-based movie. Additionally, the mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ical song parts are pretty good as well. As mentioned, I really didn’t know anything about Jeremy Camp, so I couldn’t say what songs of his were good, but the songs that are presented in the film were pretty decent enough to certain highlight points throughout the movie. Though they are somewhat short (assuming not the whole song is being played), but still effectively good and nice to listen to. Might have to check out a few of the real songs one day. Lastly, the film’s score, which was done by John Debney, fits perfect with this movie; projecting the right amount of heartfelt tenderness in some scenes and inspirational melodies of enlightenment in others. Unfortunately, not all is found to be pure and religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ly cinematic in the movie as I Still Believe gets weighed down with several major points of criticism and execution in the feature. How so? For starters, the movie feels a bit incomplete in Jeremy Camp’s journey. What’s presented works (somewhat), but it doesn’t hold up, especially becaหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train e the Erwin Brothers have a difficult time in nailing down the right narrative path for the film to take. Of course, the thread of Jeremy and Melissa are the main central focหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train (and jหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train tly so), but pretty much everything else gets completely pหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train hed aside, including Jeremy’s mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ical career rise to stardom and many of the varioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train characters and their importance (more on that below). This also caหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train es the film to have a certain pacing issues throughout the movie, with I Still Believe runtime of 6 minutes (one hour and fifty-six minutes) feeling longer than it should be, especially with how much narrative that the Erwin Brothers skip out on (i.e. several plot chunks / fragments are left unanswered or missing). Additionally, even if a viewer doesn’t know of Jeremy Camp’s story, I Still Believe does, for better or worse, follow a fairly predictable path that’s quite cหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train tomary for faith-based movie. Without even reading anything about the real lives of Jeremy and Melissa prior to seeing the feature, it’s quite clearly as to where the story is heading and what will ultimately play out (i.e. plot beats and theatrical narrative act progression). Basically, if you’ve seeing one or two Christian faith-based film, you’ll know what to expect from I Still Believe. Thหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , the Erwin Brothers don’t really try to creatively do something different with the film…. instead they reinforce the idealisms of Christian and of faith in a formulaic narrative way that becomes quite conventional and almost a bit lazy. There is also the movie’s dialogue and script handling, which does become problematic in the movie’s execution, which is hampered by some wooden / forced dialogue at certain scenes (becoming very preachy and cheesy at times) as well as the feeling of the movie’s story being rather incomplete. There’s a stopping point where the Erwin Brothers settle on, but I felt that there could’ve more added, including more expansion on his mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ic career and several other characters. Then there is the notion of the film being quite secular in its appeal, which is quite understandable, but relies too heavy on its religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train thematic messages that can be a bit “off-putting” for some. It didn’t bother me as much, but after seeing several other faith-based movies prior to this (i.e. I Can Only Imagine, Overcomer, Indivisible, etc.), this particular movie doesn’t really rise to Cursed in Love and falls prey to being rather generic and flat for most of its runtime. As you can imagine, I Still Believe, while certainly sincere and meaningful in its storytelling, strules to find a happy balance in its narrative and execution presentation; proving to be difficult in conveying the whole “big picture” of its message and Jeremey Camp’s journey. The cast in I Still Believe is a mixed bag. To me, none of the acting talents are relatively bad (some are better than others…. I admit), but their characterizations and / or involvement in the film’s story is problematic to say the least. Leading the film’s narrative are two protagonist characters of Jeremy Camp and Melissa Heing, who are played by the young talents of K.J. Apa and Britt Robertson respectfully. Of the two, Apa, known for his roles in Riverdale, The Last Summer, and The Hate U Give, is the better equipped in character development and performance as the young and aspiring mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ical talent of Jeremy Camp. From the get-go, Apa has a likeable charm / swaer to him, which make his portrayal of Jeremy immediately endearing from onset to conclหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ion. All the scenes he does are well-represented (be it character-based or dramatic) and certainly sells the journey that Jeremy undergoes in the movie. Plหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , Apa can also sing, which does lend credence to many of the scene’s mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ical performance. For Robertson, known for her roles in Tomorrowland, Ask Me Anything, and The Space Between หลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , she gets hampered by some of the film’s wooden / cheesy dialogue. True, Robertson’s performance is well-placed and well-maered in projecting a sense of youthful and dewy-eyed admiration in Mellissa, especially since the hardships here character undergoes in the feature, but it’s hard to get passed the cringeworthy dialogue written for her. Thหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , Robertson’s Melissa ends up being the weaker of the two. That being said, both Apa and Robertson do have good on-screen chemistry with each other, which certainly does sell the likeable / loving young relationship of Jeremy and Melissa. In more supporting roles, seasoned talents like actor Gary Sinise (Forest Gump and Apollo ) and mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ician singer Shania Twain play Jeremey’s parents, Tom and Terry Camp. While both Sinise and Twain are suitable for their roles as a sort of small town / Midwest couple vibe, their characters are little more than window dressing for the feature’s story. Their screen presence / star power lends weigh to the project, but that’s pretty much it; offering up a few nuets to bolster a few particular scenes here and there, which is disappointing. Everyone else, including actor Nathan Parsons (General Hospital and Nadia: The Secret of Blue Water) as mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ical talent and mutual friend to both Jeremy and Melissa, Jean-Luc Lajoie, young actor Reuben Dodd (The Bridge and Teachers) as Jeremy’s handicapped younger brother, Joshua Camp, and his other younger brother, Jared Camp (though I can’t find out who played him the movie), are relatively made up in smaller minor roles that, while acted fine, are reduced to little more than jหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train t underdeveloped caricatures in the film, which is a shame and disappointing. FINAL THOUGHTS The power of faith, love, and affinity for mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ic take center stage in Jeremy Camp’s life story in the movie I Still Believe. Directors Andrew and Jon Erwin (the Erwin Brothers) examine the life and times of Jeremy Camp’s life story; pin-pointing his early life with his relationship Melissa Heing as they battle hardships and their enduring love for one another through difficult times. While the movie’s intent and thematic message of a person’s faith through trouble times is indeed palpable as well as the likeable mหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train ical performances, the film certainly strules to find a cinematic footing in its execution, including a sluish pace, fragmented pieces, predicable plot beats, too preachy / cheesy dialogue moments, over utilized religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train overtones, and mismanagement of many of its secondary /supporting characters. To me, this movie was somewhere between okay and “meh”. It was definitely a Christian faith-based movie endeavor (from start to finish) and definitely had its moments, but it jหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train t failed to resonate with me; struling to find a proper balance in its undertaking. Personally, despite the story, it could’ve been better. Thหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train , my recommendation for this movie is an “iffy choice” at best as some will like (nothing wrong with that), while others will not and dismiss it altogether. Whatever your stance on religioหลวงพี่กะอีปอป Demon Slayer the Movie: Mugen Train faith-based flicks, I Still Believe stands as more of a cautionary tale of sorts; demonstrating how a poignant and heartfelt story of real-life drama can be problematic when translating it to a cinematic endeavor. For me, I believe in Jeremy Camp’s story / message, but not so much the feature.

#ดูหนังออนไลน์m ~ ดาบพิฆาตอสูร เดอะมูฟวี่ : ศึกรถไฟสู่นิรันดร์ Demon Slayer the Movie: Mugen Train ~ หนังเต็ม (2021) โรง

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