Passage from Vibrator
here they go again, starting in on me with their chitter-chatter. Starting inside me. Chitter-chatter-chitter-chatter-chitter-chatter-chitter-chatter. And to make matters worse, this time the chitter-chatter is stuck in a loop.
Finally I just couldn’t take it anymore and yelled out–
Look, would you just shut the fuck up!
But maybe I wasn’t shouting, just struggling, struggling with all my might to hold it in…Either way, the voices quieted down, and the inside of my head became absolutely still. Without thinking, I glanced around. A convenience store in the dead of night, no different than any other. Today is March 14: White Day! One month after Valentine’s Day, When You Give Him Your Heart, Will Your Darling Give You His in Return? Today’s the Day Men Live up to Their Women’s Love! Man, I’ve gotta watch myself. OK, I guess I didn’t actually say anything (3).
on language and identity: “…I have no words of my own” (4).
on boundaries: “I felt as if his gaze could penetrate my skin” (19).
As described in the Bill Nichols chapter you have already read:
This style of filmmaking i what [Jean] Rouch and [Edgar] Morin termed cinéma verité, translating into French Dziga Vertov’s title for his newsreels of Soviet society, kinopravda. As “film truth,” the idea emphasizes that this is the truth of an encounter rather than absolute or untampered truth. We see how the filmmaker and subject negotiate a relationship, how they act toward one another, what forms of power and control come into play, and what forms of revalation or rapport come stem from this specific form of encounter. Cinéma verité reveals the reality of what happens when people interact in the presence of a camera (184).
For Astro Boy
2011: 50th Anniversary commemoratives
2012: Atomu and Uran give advice in the Yomiuri shinbun
Earlier Media model: Kamishibai (paper theatre)
Earlier media model: German expressionist cinema
The Golem (1920)–for myth, animation, past mystery
The Cabinet of Dr. Caligari (1922)–for mad scientist, lighting & scenery, claustrophobia
Nosferatu (1922), esp. 32:38~–for shadows, doubling/othering of unconscious
Know Your Enemy, dir. Frank Capra (1945)
This film creates a very strong sense of rhetorical community–a group of people it addresses. “Your” enemy is someone “we” must try to understand. The narrator creates a very strong and consistent portrait of “the Japanese” by using unsourced footage and commenting with a strong and urgent interpretative voice. The othering strategies it uses are very different from Momotarō’s appeal to cuteness and collaboration…