matteoB

@matteob.bsky.social

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By day: lumpenproletariat. By night: Japan-based film critic and writer for Il Manifesto and other publications. Independently writing and researching about Asian documentary here: https://asian-docs.com/

a figure floating in the sea
small bookshelf with 4 Garo magazines from the mid-1970s, from top left clockwise: Garo n.147 November 1975 Garo n.154 July 1976 Garo n. 142 June 1975 Garo n. 143 July 1975
a big tree and a man dancing in front of it, everything bathed in a milky-like light. From The Night of Taneyamagahara (2006)
poster for 鏡の中の裸像 two women on foreground, one of them in a provocative pose
the top part of the image is a scene from the work "Yoji, What's Wrong with You?" depicting a woman (mother) leaning her back an a big television screen with a big eye in it, and her son talking to her. The bottom part of the image reproduce the title "Yoji, What's Wrong with You?" written in white on a purple background.
cover of the book at the center the title in green "Adachi Masao," and pink "Pink Auteur and Japan's Cinema of Revolution" at the bottom in green "William Andrews" background is black with small drawings: middle finger, a ladder, a mouth, a bawl of rice with chopsticks, a car
poster for Kiki Delivery Service "IMAX" on the top Central: Kiki's face bottom: 魔女の宅急便
poster for A Thousand Suspects
Gaudí, Catalunya, 1959 by Hiroshi Teshigahara
Videophilosophy: The Perception of Time in Post-Fordism by Maurizio Lazzarato Edited and translated by Jay Hetrick
Between Bucolic Idealization and Historical-Folkloric Mapping The Representation of Rural Areas in the Japanese Archipelago in Five Animated Feature Films Matteo Boscarol Introduction Approximately seventy percent of the Japanese archipelago's territory consists of mountainous areas and, since most of these are covered by forests, almost the entire population lives in the remaining thirty percent of flat land. Around two-thirds of the inhabitants of the country live in large urban agglomerations located on the main island of Honshū, specifically in the Kantō, Kansai, and Tōkai regions. Since the end of the Second World War, these urban centers have continued to attract large numbers of people in a process of urbanization whose secondary effect has been the depopulation of rural and provincial areas. This essay examines how non-serial animation produced in the Japanese archipelago during the first decades of the twenty-first century has represented rural spaces, and how these have consequently been imagined and codified within the popular imagination. To this end, five works have been selected as case studies. The feature-length and medium-length films under consideration are A Letter to Momo (Momo e no tegami, 2011), Hotarubi no Mori e (id., 2011), The House of the Lost on the Cape (Misaki no mayoiga, 2021), Mai Mai Miracle (Mai Mai Shinko to sennen no mahō, 2009), and Children of the Sea (Kaijū no kodomo, 2019). The representation found in these works is rooted in the urban–rural dichotomy, in other words, non-urban areas are viewed and described in relation to urban ones, and primarily from the perspective of those who live in cities. It is worth remembering that most Japanese animation studios are located in Tokyo and that animators, directors, and other industry professionals are therefore city dwellers, even though many of them originally come from rural or provincial backgrounds. In many of their works, these backgrounds become vehicles for nostalgia and a l…
I wanted to create this ambiguity, but I also tried to create a clear sense of ambiguity, so to speak. That is, I wanted to create something defined, but something that can be interpreted in different ways. The fascinating thing for me is that the act of acting itself is ambiguous, and in the three scenes you mentioned, the actresses themselves in the midst of their performances must surely have noticed the ambiguity of the question “what is real?”. One strategy I used to create this ambiguity was, first of all, to write it into the scenes themselves, by inserting the act of acting into the narrative. I could not ask the actors to emphasise the fact that they were acting, it was rather a matter of achieving a very light and thin performance that, as in the case of the two women in the taxi, could later be read differently in the continuation of the story, when more information is revealed to us. In addition, it is important that there is something hidden in the performance, as happens for example in the second episode where even the main character, Nao, realises that she does not know exactly why she is doing what she is doing, thus generating a sense of displacement in the scene.
小川プロダクション作品 デジタル復元プロジェクト第2弾 『パルチザン前史』(土本典昭監督) デジタル復元版完成記念上映会 映画美学校とアテネ・フランセ文化センターでは、小川プロダクション作品の世界展開を見据え、オリジナルネガよりデジタル復元を行うプロジェクトが進行中である。 昨年の『1000年刻みの日時計』に続き、この度、小川プロダクション製作、土本典昭監督作品『パルチザン前史』 (1969) のデジタル復元作業が完了したので、これを記念して同作品の上映とシンポジウムを実施することとなった。 2026年6月6日(土) アテネ・フランセ文化センター(東京・御茶ノ水) 主催 アテネ・フランセ文化センター 映画美学校
れなんじゃないかなと。だからこれはオカルトではないっていうとあれんですけど、けっこう本気なんだなって。本気のテレパシーを信じている。実際それは現場でこの人が感じていることなんだろうなと。 三宅 写経すると、何が入ってくるんですか? 濱口 これはですね、単純に時間がかかるから、そのことについて考えてる時間が増える。フランス語の原文と全部照らし合わせて、「本当にこんなこと言ってんのかな」っていう読み方をしているんですけど。 三浦 写経って、フランス語までタイプしていた? 濱口 そうです。 三宅 すごい話だ･･････
cover of the book on Kinoshita, a still from 24 Eyes: 4 kids and Takamine Mieko walking
殺し屋1 4K ah no, it's just 殺し屋1 in 4K...