Paper Films (Le cinéma sur papier / ペーパーフィルム, 2005)

With the aid of computers, mainstream animation has become more and more complex over the years as each studio tries to outdo the other with eye-popping 3D effects.  While the renowned animator Taku Furukawa has always been open to tinkering with new technologies, at heart he has always recognized the value of animation in its most basic form of putting pen to paper and drawing a series of images.

Furukawa’s 2005 animated short Paper Films (Le cinéma sur papier / ペーパーフィルム, 2005) harkens back to his exploration of early animation in his 1975 award-winning film Phenakistiscope (Odorokiban/驚き版).  In Phenakistiscope, he imitated the 19th century circular spinning toy of the same name.  With Paper Films, he takes animation back to its even more ancient form of a horizontal sequence of images that depict stages of motion.

 The illusion of motion is demystified in Paper Films as Furukawa first shows the paper pictures that make up his animation on a gallery wall, before setting them into motion.  A row of just over half a dozen images of a sun pop up and down like ponies on a carousel.  Furukawa then moves the camera in to capture just one of the animated images to reveal that instead the pupils of the green-nosed sun are actually people. 

This pattern of showing the miniature images in a row then moving in closer to reveal a surprise repeats throughout the film.  In one instance we see what looks like a couple consuming a heart-shaped cake, but when the camera moves in closer we see that it is no ordinary couple but a centaur and a mermaid.  Another sequence appears just to be that of a crescent moon lying down, but then the camera moves in closer to reveal a naked woman popping out of the moon like Momotaro from the peach.

Paper Films is a useful film for teaching students the principles of animation and the significance of perspective in animation.  When seen in an animated sequence onscreen, some series of images give the impression of horizontal movement.  However, when the camera focuses on just one of the series the movement appears to be vertical: a Humpty Dumpty figure wearing an anti-war slogan on a T-shirt is not really moving sideways, but plummeting onto a row of tanks like a bomb; a car that looks like it is moving from left to right is actually moving from the distance into the foreground; and so on.

As ever, Taku Furukawa is having fun with animation and he playfully drops references to historical antecedents that shaped both his artistic aesthetic and his sense of humour – everything from Muybridge to the Marx Brothers.  The playful nature of the film is emphasized by the lyrical score by his daughter Momoko Furukawa (official website) and Akihiro Yoshida.


The title of this film is occasionally rendered as "Paper Film" because of the ambiguity of the katakana English title.  I chose the plural "Paper Films" for the title because that is how it appears in the opening credits of the film.  The plural makes sense because the 6'21" short is actually made up of many seconds long animated short films.  

Paper Films appears on the Anido DVD Takun Films 2.

Radioactivists – Protest in Japan since Fukushima (2011)

The earthquake and tsunami of March 11, 2011 and the ensuing nuclear disaster were a wake-up call not only for the citizens of Japan but for people around the world living with nuclear energy.  If a catastrophe of this magnitude could happen in a country as technologically advanced as Japan, then surely it could happen closer to home.  The notion that local governments are looking out for the best interests of the people when it comes to nuclear energy has been forever destroyed by this event.

One of the countries most deeply impacted by increased anti-nuclear sentiment in the wake of the Japanese disaster has been Germany, where the government was pressured into announcing a commitment to abandon nuclear power on May 30, 2011. By chance, two young politically aware Germans, Julia Leser and Clarissa Seidel, were in Japan during the catastrophe.  Leser, a student of Japanology and politics at Leipzig University, had just completed a year abroad at Waseda.  Her friend Seidel, a recent media studies graduate, had joined her for a short holiday.  Two days after the earthquake hit, the two returned to Germany where they were frustrated about the lack of media coverage of the growing anti-nuclear movement in Japan that they were following on websites like J-Fissures and Shirōtono Ran.  Inspired by the by this, Leser and Seidel returned to Japan with a camera to make their first documentary: Radioactivists – Protest in Japan since Fukushima (2011)

Radioactivists focuses exclusively on the reaction to the nuclear disaster in Tokyo.  The first Shirōto no Ran (素人の乱/Revolt of the Amateurs) demonstration was held in Koenji on April 10^th.  With an estimated 15,000 people in attendance, it was the largest protest of its kind in Japan since the 1970s.  Seidel and Leser tell the story through lively footage of the protests and the testimony of the key figures organizing the movement:  Hajime Matsumoto, an entrepreneur and activist who founded the Shirōto no Ran movement, the writer Yoshihiko Ikegami who is editor in chief of political magazine Gendai Shisō, and Keisuke Narita, an anarchist, activist, and owner of a DIY-Infoshop in Shinjuku.  The political and social ramifications of this movement are put into context in the film by interviews with the political scientist Chigaya Kinoshita and the sociologist Yoshitaka Mōri.

Matsumoto painting a flag with the word "KAISAN" (解散/dissolution) on the front step of his recycle shop.

For first time documentary filmmakers, I was impressed that Leser and Seidel were able to whittle down  over 20 hours of footage into a neat 72 minute film.  Apart from some inelegant transitions between sections of the film, it is a strong documentary with a nice balance of information and images.  The emphasis is firmly placed on giving voice to the concerned citizens of Tokyo with the filmmakers themselves content to stay behind the lens.  The behind-the-scenes footage of the organization of the second protest in Shibuya in May shows the jocular good-will of the organizers to get as many people as possible to join in the demonstration while at the same time doing their best not to irritate the police or the park attendants of Yoyogi Park. 

Prof. Steffi Richter with Clarissa Seidel and Julia Leser at Japan Week, Frankfurt am Main

See more photos from this event on Google Plus.

The audience at Japan Week for the premier of Radioactivists last Saturday was a lively crowd with many  activists in attendance who had attended Occupy Frankfurt earlier that day.  It was an eye-opening experience for many to realize how lucky they were with their ability to protest openly in Germany compared to the much more tightly regulated protests in Japan.  For example, in Japan the police are able to detain people without charge for up to 23 days – a time period which can lead to innocent people losing their jobs if applied injudiciously by police. 

Although Radioactivists makes the large numbers of police at the demonstrations look out of proportion to the peaceful nature of the protesters and allows Keisuke Narita to share his grievances about police behaviour, on the whole the film tries to maintain a positive impression of the first three Shirōto no Ran demonstrations.  This is not an anti-police or anti-government film, but a documentation of a group of people entreaty to their fellow citizens to join them in their call for an end to the use of nuclear energy in Japan.  The promotion of good will is aided in a large part by the participation of Human Recovery Project, a network of punk and rock bands who do charity work in the Tohoku region.  The musicians add a celebratory, festival atmosphere to the marches.  The most moving moment in the film for me was a heartfelt performance of Kiyoshiro Imawano's anti-nuclear cover version of Eddie Cochran's  "Summertime Blues". 

Radioactivists is really just a snapshot of the anti-nuclear movement in Tokyo between March and June.  Due to budgetary constraints, the makers were unable to travel to cities like Osaka and Kyoto where anti-nuclear protest has also been significant.  The film ends with footage of the third demonstration in June as it winds along the streets of Shinjuku.  Since Leser and Seidel finished shooting the film in June, the demonstrations have continued on a bi-monthly basis with more and more participants at each event.  For more information about the documentary and updates on the protests, you can follow the filmmakers on Twitter or on their blog.  I do hope that the filmmakers are inspired / get the funding to make a sequel.


16 January 2012 UPDATE: This film is now available on DVD with Japanese, English, German, and Spanish subtitles.  Click here for more details.

RADIOACTIVISTS – Protest in Japan since Fukushima

Germany/Japan 2011, 72 min.

Directed + Produced by:

Julia Leser + Clarissa Seidel

Editor:

 Clarissa Seidel

Additional Photography:

Arseny Rossikhin

Associate Producers:

Roger Zehnder

Yoshihiro Akai

Graphic Design:

Clemens Berger

René Hänsel

Original Music:

Junsuke Kondo

We Want Wine

ECD

Translation:

Yasuo Akai

Featuring:

Yoshihiko Ikegami

Chigaya Kinoshita

Hajime Matsumoto

Keisuke Narita

Yoshitaka Mōri

Human Recovery Project 

Radioactivists had its world premiere on 12 November 2011 at:

This event was sponsored by Nippon Connection:

Japan in Germany 6: Marie Miyayama

On Friday night I had the pleasure of watching Marie Miyayama's The Red Spot (Der Rote Punkt / 赤い点, 2008) for the second time at the Deutches Filmmuseum Frankfurt as part of the Nippon Connection Film Special at Japan Week.  This was my first time seeing the film in its original 35mm format and the colours were even more brilliant than in the digital format.  In addition to the obvious uses of red with Aki’s backpack, her mother’s lipstick, her aunt’s umeboshi, and the dot on the map, there were more subtle uses of red on the curtains in Aki’s room and the dress of Mary in Johannes’s carving of Mary and the baby Jesus. 

It’s a beautifully shot film, and I found myself even more strongly moved by the actors’ performances the second time round which for me is always the sign of a well made film.  I was happy that I had seen the film once before with English subtitles for the southern German dialect of “Allgäuerisch” is challenging for me.  However, I noticed that there was much more laughter at this screening of The Red Spot than there was at Shinsedai 2010 in Toronto because the Frankfurt audience picked up on the subtleties of the local humour – especially in the scene when Johannes has to pick Elias up at the police station and in the scene when Aki’s elementary German confuses Johannes.

Marie Miyayama (宮山麻里枝, b. 1972) was also in attendance and took questions from the audience after the screening.  Miyama was born and grew up in Tokyo.  She came to Germany in 1995 to study filmmaking at the Ludwig Maximillian University in Munich and she remains based in Munich.  During the Q+A, Miyayama pinpointed the first time she saw Wim Wenders’ Alice in the Cities (Alice in den Städten/都会のアリス, 1974) as being the moment that she fell in love with European cinema. 

Someone in the audience noted that Aki, the main protagonist in The Red Spot, was about the same age that Miyayama was when she first came to Germany and wondered if there were any autobiographical elements in this film.  Miyayama replied that many personal elements come into her films mainly through her own interest in exploring intercultural themes.  She also prefers to write her own screenplays in order that she may look deep into herself to bring some kind of personal truth to her films.  However, that being said, it should be remembered that The Red Spot was based on someone else’s story.  When Miyayama was working as an interpreter, she had a female client who came to Germany with just such a red spot on a map and employed Miyayama to help her find this spot where her family had died on the famed “Romantic Road” (Romantische Straße) between Würzburg and Füssen.  In the film, we see one of the most famous sightseeing attractions of the Romantic Road, Schloss Neuschwanstein, in the photos that Aki finds on her parents’ camera.  In real life, the woman that Miyayama assisted was a cousin of the lost family, not the surviving child, and as the story was developed into a screenplay many more fictional elements were added to the plot.

So far, The Red Spot has enjoyed a proper theatrical release in Germany and has been well received at international film festivals.  Miyayama remains ever hopeful that she could also release the film in Japanese theatres.  So far, the film has only shown twice in Japan at a festival for women filmmakers and at a German film festival.  It will be screened again in December at Waseda University as part of the celebration of 150 years of friendship between Japan and Germany. 

Miyayama has taken a short maternity break from filmmaking but is now working on new projects.  With an eye on continuing her exploration of intercultural themes, she is working on a scenario about a German woman who goes to Japan.  Not wanting to pigeonhole herself as a director; however, this film will be a comedy.   

To see more photos from this event, go to my Google Plus profile.

For more information about Marie Miyayama, see her homepage and her profile at Japanese Women Behind the Scenes.

This event was sponsored by Nippon Connection: