フランス人/The French
年份：2003
地区：日本
上映：2003
评分：0.0 分
播放：6 次
更新：2020年08月16日
导演：平竹晋也
编剧：
主演：
分类：
剧情介绍
木版画を用いたアニメーションです。
複製される肥大化した妄想とそのゆらぎ、ズレを表したく、挑戦しました。
"French (Furansu jin, 2002) by Hiratake Shinya, which, alone, makes it worth going to the show. Using some 6,000 woodblock prints to animate a 12-minute film, Shinya connects directly with another pioneering aspect of Ofuji's very early work in the `20s, when Ofuji used cut-patterns with woodblock prints to animate The Story of Songoku (Saiyuki Songoku Monogatari, 1926).
French covers about 250 years of francophone history up until the early 20th century. Notes to the film suggest we should see it from the perspective of a naive "Japanese boy wandering around France," entirely overwhelmed by what's all around him.
I don't buy it. The overheard snippets of conversation (in French) are too wisely edited on the soundtrack to be chosen by someone without a sense of the language. In fact, the vicious slabs of sound that crash down on the rest of the soundtrack refer directly to work done by composers of musique concrete in Paris in the late '40s and '50s.
Shinya also uses his woodcut prints as if he were mounting posters on the sides of city kiosks. First the image of a face is slapped up to look at, then a head, a statue or the outline of some aspect of 19th-century heavy industry. Seconds of black alternate with moments where everything is saturated in a dark red, or in a blue with lots of black in it. "
複製される肥大化した妄想とそのゆらぎ、ズレを表したく、挑戦しました。
"French (Furansu jin, 2002) by Hiratake Shinya, which, alone, makes it worth going to the show. Using some 6,000 woodblock prints to animate a 12-minute film, Shinya connects directly with another pioneering aspect of Ofuji's very early work in the `20s, when Ofuji used cut-patterns with woodblock prints to animate The Story of Songoku (Saiyuki Songoku Monogatari, 1926).
French covers about 250 years of francophone history up until the early 20th century. Notes to the film suggest we should see it from the perspective of a naive "Japanese boy wandering around France," entirely overwhelmed by what's all around him.
I don't buy it. The overheard snippets of conversation (in French) are too wisely edited on the soundtrack to be chosen by someone without a sense of the language. In fact, the vicious slabs of sound that crash down on the rest of the soundtrack refer directly to work done by composers of musique concrete in Paris in the late '40s and '50s.
Shinya also uses his woodcut prints as if he were mounting posters on the sides of city kiosks. First the image of a face is slapped up to look at, then a head, a statue or the outline of some aspect of 19th-century heavy industry. Seconds of black alternate with moments where everything is saturated in a dark red, or in a blue with lots of black in it. "
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