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Russian
00:00:03
great traveler on the border between00:00:06
dreams and reality00:00:07
[music]00:00:11
master of twisted plots of mind games, a00:00:16
real classic of anime who did not live to see00:00:19
50 years old,00:00:21
today we will talk about satos kony, the00:00:24
cult Japanese director00:00:27
whose fantasies inspired Daren Arnoski00:00:30
and Christopher Nolan, but he himself seems to be00:00:34
not very well known to the general public to the public,00:00:36
his inventive surreal00:00:39
non-format anime are not as optimistic and00:00:43
accessible as the work of Hayao Miyazaki, they are00:00:46
not as sentimental as the picture of Makota00:00:49
Senkai,00:00:50
but more clearly than many other films they00:00:53
demonstrate the possibilities of film language00:00:56
and convey the work of consciousness in a way that00:00:59
only animation can do.00:01:02
What techniques does satoshik erase the00:01:05
boundary between reality and dreams of00:01:08
how his paintings convey the loneliness of a00:01:10
person in the Megalopolis00:01:12
and why all the films of the Japanese author are00:01:15
still relevant00:01:17
about all this in our video essay about the00:01:20
work of Satose Kona00:01:27
[music]00:01:41
if you look at the filmography of Soto00:01:43
Shikon, it amazes with its diversity over a00:01:46
ten-year career as an independent00:01:49
author He made only four00:01:50
full-length films and one series, but00:01:52
all in different genres00:01:54
true sadness gritty psychological00:01:57
thriller about a serial killer who00:01:58
stalks the former lead singer of a pop group00:02:00
[music]00:02:02
actress of the millennium melodrama about an elderly00:02:04
movie star who remembers the career and00:02:07
love of her life00:02:10
Once Upon a Time in Tokyo A Christmas Tale about a00:02:13
trio of homeless people who save a00:02:15
baby an00:02:16
agent of paranoia a mystical detective that00:02:19
changes the genre every episode from horror to00:02:23
black comedy from urban fantasy to00:02:27
erotic thriller and finally Paprika a00:02:30
puzzling science fiction about00:02:32
scientists who have learned to penetrate into00:02:34
other people's dreams00:02:36
such a range of genres demonstrates00:02:38
the huge directorial range of Sato00:02:41
Shikon who he was equally successful at00:02:44
whipping up suspense00:02:47
and squeezing out a tear00:02:50
and making people laugh,00:03:02
but in all his films00:03:05
common themes and motifs can be traced; in most00:03:08
films with Atos, the icon can be seen as a00:03:10
disturbing image of the city. And all of his characters, in one way00:03:13
or another, experience the loneliness of an00:03:14
individual being lost in a00:03:17
metropolis00:03:18
and the fear of showing off to others the00:03:24
series Agent of Paranoia, which tells about the00:03:26
revived neuroses of a big city,00:03:28
literally visualizes its true face in the screensaver. This00:03:31
feeling is at the same time. The Megapolis is00:03:33
unreasonable. The ocean or endless darkness is a00:03:35
very regulated space; the00:03:38
arteries of roads;00:03:40
the silhouettes of houses00:03:43
and the eye sockets of windows00:03:45
clearly separate the territories of public00:03:48
and private00:03:50
and form an additional limitation00:03:52
within the frame driving the heroes into them, the00:03:55
extreme detail of city00:03:57
spaces00:03:58
and the placement of apartments creates a00:04:00
claustrophobic and depressive00:04:02
mood [music]00:04:03
the city invites residents into the embrace of darkness00:04:06
that they carry with them, this is exactly what00:04:09
happens to a pop star out of true00:04:11
sadness who gradually goes crazy00:04:14
but the city can become and decorations for the00:04:16
Christmas miracle how it happened In00:04:18
Once Upon a Time in Tokyo, three homeless00:04:21
middle-aged man, homosexual Drago artist00:04:24
and a teenage girl who ran away from home00:04:26
wandering around the city with an accidentally found00:04:28
baby00:04:30
turns into a real family. An00:04:34
equally important place in the work of Sato00:04:36
Shikon is occupied by technologies that not00:04:38
only serve people, but also help00:04:40
them better understand themselves. In his works, both00:04:43
unknown and long-00:04:46
familiar devices often appear: a television and a computer, a00:04:51
mobile phone00:04:53
and a smart bed, a00:04:55
car, and finally a device for00:04:59
penetrating into other people's dreams,00:05:06
technologies not only organize and00:05:09
simplify everyday life, but also reflect00:05:11
psychological life a person is given an00:05:13
outlet by neurosis to fantasies and traumas sometimes00:05:16
hidden in a tired mind00:05:25
long before people lived on the Internet.00:05:28
But for seconds I wondered how this00:05:31
would affect the psyche of a person who is00:05:34
already uncomfortable with the information noise of megacities and00:05:36
television,00:05:39
because people willingly create doubles for themselves,00:05:41
such Forerunners of avatars00:05:43
and those sometimes become more real00:05:46
than real personalities00:05:48
and they are generated not only by the people themselves,00:05:51
locked between social expectations00:05:53
and personal neuroses,00:05:55
but they have diatheratizing certain00:05:58
models of behavior, which is why00:06:00
these films with atoms are always00:06:02
so many photographs of00:06:05
posters, posters of magazines,00:06:08
polyphony of visual voices that seem to00:06:10
convey one and the same the same but00:06:12
slightly different and always an ideal00:06:15
image00:06:17
and with the images that are born in films00:06:20
And in general the director has00:06:22
always had a special relationship with cinema00:06:24
[music]00:06:41
at the beginning of Sato sik’s career he worked as an00:06:44
assistant to Katsuhera Atom and helped00:06:46
create the legendary manga Akira and then00:06:50
collaborated as an artist from Mamoru Axis, the00:06:53
director of the cult Ghost in00:06:55
the Shell,00:06:56
but in his work he was more likely00:06:58
to focus on feature films and not on00:07:01
someone else's animation. Not wanting to redraw00:07:03
what someone had already done, among his00:07:05
favorite films it is customary to call00:07:08
Terry Gilliam's trilogy of imagination, which includes00:07:10
Brazil and Adventures Baron Munchausen00:07:14
films where the boundaries between fantasy and00:07:17
reality are also permeable and where00:07:19
the horse could borrow the love of the aesthetics of00:07:21
cluttered fantasy worlds00:07:25
is another obvious parallel David Lynch The00:07:28
surrealist dreamer is also fascinated by the00:07:30
underside of show business, the twins of the00:07:32
shimmering boundaries between reality and sleep,00:07:36
not only the obvious thematic apsessions passed from him to the horse00:07:38
but also, for example, the00:07:40
hypnotic manner of working with sound is00:07:43
frightening, the industrial noises of the eraser head00:07:48
echo in the depressing clatter of00:07:50
city transport in true sadness00:07:52
at moments when the heroine is especially00:07:54
depressed00:07:56
or in Agent Paranoia when the artist00:07:58
turns to traumatic memories00:08:04
in true sadness director Meta ironically00:08:07
makes fun of banal television00:08:09
production please00:08:14
and at the same time, through the mention of the actress, she makes a00:08:16
reference to the obvious source of00:08:17
inspiration - the silence of the lambs00:08:22
[music]00:08:25
Paprika's journey through the layers of sleep00:08:27
is reminiscent of an excursion through early examples of00:08:29
cinematic masculinity from00:08:32
Tarzan with Johnny Vas Muller to00:08:35
Gregory Pack in Roman Holiday, the actress of00:08:38
the millennium borrows the frame00:08:39
design of the Titanic with the subject00:08:41
MacGuffin and a story from the perspective of an elderly00:08:44
woman remembering her love00:08:53
[music]00:09:01
on the history of Japanese cinema and declarations of00:09:04
love to classic films from quiet dramas00:09:07
and Sujira-ozu00:09:09
and samurai action films of Akira Kurosawa00:09:13
to kaiju films about Godzilla00:09:16
and poignant post-war melodramas00:09:20
[music]00:09:21
remembering the past of the heroine actress00:09:23
constantly mixes up life and the roles that00:09:25
She played, the00:09:28
same thing that is not entertainment of reality and reality00:09:30
that Kon was interested in throughout his career00:09:33
[music]00:09:39
[music]00:09:45
before working in the anime industry, Satose he00:09:48
drew manga00:09:49
in his last and unfinished00:09:52
opus He tried to go00:09:55
beyond the strip to destroy the drawn00:09:57
frame according to the plot, the main character, the artist,00:10:00
found himself in a world invented by himself and00:10:02
was faced with sins like00:10:04
sketchy backgrounds behind which a00:10:06
white nothingness began at some point inside the00:10:09
manga was supposed to appear And then Sicon himself00:10:12
in animation He continued the struggle with00:10:15
boundaries and frames00:10:16
making them smooth and imperceptible transitions00:10:19
between reality and fantasy, the present00:10:22
and memories,00:10:24
reality and sleep,00:10:30
the heroine of the truth of sadness does not understand where00:10:33
her life ends and00:10:35
the plot of the series begins.00:10:37
What did she do? And what is her imaginary00:10:40
alter ego00:10:42
in the actress of the millennium?00:10:47
paprika, the phantasmagoria00:10:50
of a dream breaks through into reality, turning the00:10:52
passage of time into a crazy parade,00:10:55
following the anime characters who are00:10:57
entangled in other people's fantasies, the00:11:01
audience also becomes disoriented [music]00:11:09
to create this effect, Sato Sikon00:11:12
inventively used editing,00:11:14
primarily movement gluing,00:11:15
which allows you to link two frames00:11:18
within one scenes,00:11:20
thanks to the inertia of the viewer's00:11:22
perception, she connects different00:11:24
times and spaces, this is00:11:27
exactly how they traveled between the00:11:29
memories of the hero of the film adaptation of Bonnie00:11:31
Number Five00:11:33
Evelyn Wong between parallel worlds in the00:11:35
recent everything everywhere and at once00:11:39
she is in the matrix between the realities of the00:11:42
present and the virtual00:11:47
another frequent technique machkat00:11:51
gluing two frames that look similar00:11:53
mise-en-scène Sometimes the cone is combined with00:11:57
movement and dissolve, the00:11:58
most famous example of machkat00:12:00
Stanley Kubrick's A Space Odyssey00:12:04
and another way to seamlessly connect two00:12:06
frames to make a cut through movement in the00:12:09
foreground when one image00:12:10
replaces another and we are imperceptibly00:12:12
transported to a new scene the00:12:16
space of films satos icon00:12:18
is filled with doubles00:12:20
and reflections in glass and mirrors sometimes00:12:22
begin to live their own parallel00:12:24
lives; not only the heroes are doubled, but also the00:12:27
mesoscenes in which they find themselves;00:12:29
repeating frames reflect the looping00:12:32
logic of dreams and the whimsical work of memory00:12:34
in the actress of the millennium; documentarians who00:12:37
come to interview the actress00:12:38
find themselves literally inside her00:12:40
memories; another popular way00:12:43
how to visualize the interaction of00:12:45
characters with someone else’s consciousness, the00:12:47
director often resorts to a technique00:12:49
when what is happening in the frame suddenly for the00:12:52
viewer turns out to be an image on the00:12:54
TV screen of a00:12:57
cinema or computer00:12:59
[music]00:13:08
for this, the horse stylizes the image Under the00:13:11
poor resolution of television screens,00:13:13
adding rows and interference, the director does00:13:16
not convey by means of animation only00:13:18
the look of analogue monitors, but also photographs, an00:13:22
almost monochrome gamma. When it comes00:13:24
to a scene from the beginning of the 20th century, slow-mo00:13:29
subjective camera00:13:32
and handheld shooting to convey the feeling of a00:13:34
feature film00:13:36
[music]00:13:40
he used all these clever, complex satosik techniques to accurately00:13:43
convey inner life on the screen00:13:45
and the work of a person’s subconscious, as for00:13:48
example in this one-minute00:13:49
short film called Good00:13:51
Morning, which in simple terms00:13:53
shows how a person feels when he00:13:55
just woke up00:14:00
[music]00:14:05
died in 2010 from pancreatic cancer00:14:09
He lived only 46 years and00:14:12
he had more unrealized ideas00:14:13
than films made00:14:16
his surreal worlds inspired00:14:18
other directors both in feature films00:14:22
and in anime,00:14:24
but he himself remained a unique author whose00:14:26
unbridled imagination and freedom of expression00:14:32
were combined with wise and intelligible criticism of00:14:34
modern society00:14:36
and even though he himself went beyond the frame and00:14:40
beyond the boundaries of life, finding himself in the world about00:14:42
Whose Law Nothing is known, his00:14:44
work will forever remain living00:14:46
proof that in cinema00:14:49
nothing is impossible00:14:50
[music]Description:
Какими приемами Сатоси Кон стирает границу между реальностью и фантазиями, прошлым и настоящим, явью и сном? Как его аниме передают городское одиночество и опасности технологий? Почему все его ленты — признания в любви кинематографу? И чем он вдохновил Даррена Аронофски и Кристофера Нолана? В этом видеоэссе рассказываем о главных темах и приемах Сатоси Кона — автора «Паприки» и «Истинной грусти», культового режиссера и сюрреалиста от аниме. 00:00 — О чем это видеоэссе 01:38 — Певец одиночества 06:40 — Кино про кино 09:43 — Жизнь как сон ⚡️Для удобства завели в Telegram еще один канал для связи с вами – https://telegram.org/ Там мы будем выкладывать и ссылки на видеоэссе, и интересные материалы по темам разборов.
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