Archive for April, 2009
This should give my students something to think about:
So. What does it all mean? Well, for those currently studying in Higher Education it means things like these:
- The idea that your education will be finished when you leave University is patently daft. You will need to train and retrain yourself many times during your working life.
- You will almost undoubtedly changes jobs many times. You may also change careers more than once. The only constant will be change.
- Consequently, the most important skills you need to master are a) the ability to bootstrap yourself whenever necessary, and b) the ability to critically evaluate new information. The principle function of a university degree is to teach you how to do these two things. You need to learn how to learn.
End of lecture.
[Thanks to the G-Man for the video link.]
The death of J.G. Ballard cannot pass without note. As a young man his books were incredibly influential on me, with their intensely symbolic Max Ernst-like landscapes, pathologically driven anti-heroes, and their willful coupling of rabid sexuality and technological fetishism.
But the enigmatic presence of the terrace city, with its crumbling galleries and internal courts encrusted by the giant thistles and wire moss, seemed a huge man-made artefact which militated against the super-real naturalism of the delta. However, the terrace city, like the delta, was moving backwards in time, the baroque tracery of the serpent deities along the friezes dissolving and being replaced by the intertwined tendrils of the moss-plants, the pseudo-organic forms made by man in the image of nature reverting to their original.
For example, I particularly remember reading Concrete Island and being dumbfounded by both the simplicity of the idea and the way Ballard was able to develop something so chilling, so plausible, from the mundanity of the initial premise. Even now I still occasionally think of Maitland as I negotiate motorway intersections:
Far from wanting this girl to help him escape from the island, he was using her for motives he had never before accepted, his need to be freed of the past, from his childhood, his wife and friends, with all their affections and demands, and to rove forever within the empty city of his mind.
The Drowned World, The Drought, Crash, The Atrocity Exhibition, High Rise, Concrete Island, Super Cannes—to name but a few of my own personal favourites—all powerful novels that spoke in an utterly unique and unflinching contemporary voice:
Helen knelt across me, elbows pressed into the seat on either side of my head. I lay back, feeling the hot, scented vinyl. My hands pushed her skirt around her waist so that I could see the curve of her hips. I moved her slowly against me, pressing the shaft of my penis against her clitoris. Elements of her body, her square kneecaps below my elbows, her right breast jacked out of its brassiere cup, the small ulcer that marked the lower arc of her nipple, were framed against the cabin of the car. As I pressed the head of my penis against the neck of her uterus, in which I could feel a dead machine, her cap, I looked at the cabin around me. This small space was crowded with angular control surfaces and rounded sections of human bodies interacting in unfamiliar junctions, like the first act of homosexual intercourse inside an Apollo capsule.
Leaving the last words to Mr. Ballard himself:
We wait here, at the threshold of time and space, celebrating the identity and kinship of the particles within our bodies with those of the sun and stars, of our brief private times with the vast periods of the galaxies, with the total unifying time of the cosmos…
I love Scott McCloud: Understanding Comics is an absolutely awesome book. I came across this recently posted video of a talk he did at TED in February 2005. A fabulous presentation: Vannevar Bush, J.C.R. Licklider, Marshall McLuhan, visions of the future, truth, beauty, 4 basic principles for living your life, temporal maps, spatial relationships, durable mutations, and, yes, even comics. Smart, funny, and still ahead of the curve. What more can you ask for?
Another section of Richie’s A Hundred Years Of Japanese Film to catch my eye is this description of Daisuke Ito’s 1927 film Diary of Chuji’s Travels:
Much of the film looks like a modern—specifically American—movie. Yet it often segues into a decidedly Japanese sensibility. The dialogue scenes are in medium close-up, there are two shots with a forty-five degree shift of viewpoint, and eyelines follow international standards. Yet, in the sequence in the saké brewery, we follow a downward pan from darkness to patches of sunlight, beams, ropes, and finally to the men manning the works. A written title appears in this initial darkness and continues all the way through the pan—in effect turning the screen into a calligraphy surface, a two-dimensional page.
The following sequence, in the saké brewery yard, is pure Japanese aesthetic bravura. The area is littered with enormous empty barrels, some on their sides, and so the scene is filled with circles. Shot after shot emphasizes ceaselessly the resulting circular compositions. A girl wanders in circles; children play circular games: the design has become the story. And during the remainder of the film, scenes return to the compositions of this sequence, reminding us of it. The heroine goes to sit in the circle of a big, empty vat; later, children form a dancing circle around the distraught samurai hero.
Such apparent design-as-narrative reminds one of traditional printmakers, particularly Hokusai, and brings to mind the printmaker’s insistence that visual schemes can take the place of plot. We can readily understand the role that traditional composition plays in Japanese cinema.
Wow: the design has become the story! I only wish there were more depth to this section. When Richie says it “brings to mind the printmaker’s insistence that visual schemes can take the place of plot” does he mean Hokusai in particular, or traditional printmakers in general? It’s just so tantalizing!
Something I’m going to have to research myself.
Richie, D. (2005) A Hundred Years Of Japanese Film. Tokyo, New York, London: Kodansha International (p.70)
I’ve just finished reading Donald Richie’s excellent A Hundred Years Of Japanese Film. The book is arranged more-or-less chronologically, and begins with the very earliest of Japanese-produced movies in 1899. These, as with the imported films that at that time made up the bulk of the repertoire, were obviously all silent films. However, when they were screened they had sound added by a benshi, someone who Richie defines as a “film narrator, commentator, lecturer—a master of ceremonies whose appearance was an assumed part of early Japanese film showings.” This amazing practice continued well into the era of the talkies, and did not die out fully until the mid-1930s.
So why did the Japanese cinema audience need the benshi, and for so long? Excuse me if I quote at some length from the book:
The reasons for the long life of the benshi were various. Since Japan had only some forty years before been “opened up to the West” (a phrase invented in the West), ignorance of much of the outside world was common. The benshi filled in the gaps of knowledge Western viewers had acquired long before. They were “a reassuring native presence with a presumed acquaintance of the foreign object,” a necessity which might even now “explain the Japanese affection for teachers, tour guides, sommeliers, and other conduits for the acquisition of new experience.”
In addition to his educational role, the benshi was essential to the film-viewing experience. In part, this was because the early cinema of Japan was, as elsewhere, a cinema of short, unrelated clips—initially films form abroad: in the Lumière collection, one saw babies being fed, gardeners being squirted, and so on. A commentary connecting these clips not only made a short program longer but more coherent. Later, when longer programs became available, story links were created by the benshi. Still later came the illusion of a self-contained story-world. Until then, the benshi was all that these little glimpses had in common.
The benshi was also required to fill the time. This he accomplished in various ways. Besides talking, he sometimes lengthened the viewing time. Many films were quite short, and so a number were shown on a single bill. Sometimes, as was common in early showings in France and the United States, films were repeated. Since the audience had not yet developed what has been called a “linear response,” no one minded a second viewing as it gave one a chance to catch new things the second time round.
In recalling the films he had seen around 1898, as a child of about ten, novelist Tanizaki Jun’ichiro said: “The ends of the reel would be joined together so that the same scene could be projected over and over. I can still remember, endlessly repeated, high waves rolling in on a shore somewhere, breaking and then receding, and a lone dog playing there, now pursuing, now being pursued by the retreating and advancing waters.”
The technique of repetition has a proper Japanese name, tasuke (continuous loop), and its use remains common on Japanese television and in the movie theaters, where advertising clips are repeated several times. The aim now is not to make a short program longer, but the argument holds that anything short may be twice savoured. After all, repetition seemingly for its own sake is so accepted an element in Japanese dramaturgy that its cinematic equivalent seems quite natural. Perhaps those Western viewers, even during a Mizoguchi Kenji or Ozu Yasujiro film, sigh and hope the director will soon get on with it are responding to this Japanese tradition of repetition.
The benshi mostly filled in the time with lengthy explanations, a time-consuming rhetoric, and drawn-out, often moralizing conclusions. It was the benshi who created the narrative for the audience to follow, and even today, when the narrator’s performance has been reduced to a more or less scholarly reconstruction, a plethora of explanations, repetitions of information, and voice-overs remains in Japanese commercial film. This was what the uninformed audience required and consequently wanted. “What to filmgoers in the West might seem an overdetermined, annoying repetition was for Japanese audiences constitutive of meaning.”
From the Western perspective, it could be said that the benshi delayed the cinematic development of narrative in Japan. However, this line of thought is valid only if one believes that the development of narrative was a “natural” development of the film and that there were no other alternatives. Actually, as Japanese film indicates, there were.
In the West, cinema was evolving into a self-sufficient narrative. It seemed the most practical way to entertain increasingly sophisticated audiences. A series of short clips gave way to lengthier, more coherent stories. The audience’s involvement in more detailed stories increased attendance. It was thus possible to find in the narrative film the most suitable cinematic form if the industry required films to be quickly and cheaply made.
In Japan, however, the perception of narrative was different. It was the benshi and not any self-contained cinematic narrative which made sense to the audience. He not only explained what was being shown on the screen but also was there “to reinforce, interpret, counterpoint, and in any case to intercede.”
The role of the benshi was a very traditional one. From the earliest times, Japanese drama had required an informing voice. The chorus in noh drama, the joruri chanter in bunraku puppet drama, the gidayu narrator in kabuki—all premodern Japanese drama is a pictorial expansion of verbal storytelling. Joseph Anderson has indeed defined the Japanese drama as a presentation “in which actors do not autonomously enact events for spectators; dialogue spoken by actors is not the primary speech modality; and basic plot structure is not based on conflict, crisis, climax, resolution, and dramatic unity.”
Rather than being presented as an occurrence, drama is presented as a recounted occurrence. Although many national dramas have entertained like assumptions, the Japanese theater (and its descendants, movies and television) has remained remarkably faithful to the authoritative voice. As one early critic expressed it, the film itself was like the bunraku puppet and the benshi was the gidayu reciter.
The influence of the benshi continues even today. Joseph Anderson remembers listening to a modern Japanese soap opera from another room in the house and discovering that “voice-over narration not only recaps previous episodes but every so often talks about things that are happening right now on the tube. I don’t have to look at this television drama. I hear it.”
I find this passage pregnant with ideas. For my own benefit as much as yours, here are a few brief notes:
- This all suggests that Japan remains a primarily oral society. Most likely this is due to the notoriously difficult-to-master writing system that they use.
- In the text above, who said the audience had not developed a “linear response.” What do they—the person who said it originally and Richie himself—mean by it?
- This idea of showing film (or video) in continuous loops is intriguing. Given the modern technologies we have, it’s surprising that more has not been made of looping (as it has, for example, in audio). There are places where it is in common use: pop concerts and pop videos spring to mind; advertising on the web, or on LCD displays in public spaces; and Buñuel has used it (that scene in Exterminating Angel where the guests arrive twice). Presumably looping is so rarely used outside of these contexts because most films and TV shows are plot-driven. But as Brian Eno has said: “Repetition is a form of change.”
- If Japanese dramatic forms are not based on what we would recognize as an Aristotelian narrative form (conflict, crisis, climax, resolution, and dramatic unity), then what are they based on?
One final thought. Could not this format of short film or video clips linked by a live narrator/performer be consciously revived as a modern form? With the technologies we have at our disposal this could produce some very powerful effects.
Richie, D. (2005) A Hundred Years Of Japanese Film. Tokyo, New York, London: Kodansha International (pp.19-22)
A couple of weeks ago went on one of our regular family visits to the lovely (and noticeably improving) National Botanic Garden of Wales. Here are a few of the pictures I took. Making no claim to be a great photographer—a point-and-click merchant at heart—I’m really only interested in composition and colour. Or maybe texture. Whatever: