18 items from 2010
Most of us can agree that music plays a large part in cinema; it creates an atmosphere, emphasizes emotions to the audience, and, most importantly, invests the audience into the story.
The same holds true for anime; in fact, music probably plays a larger role in this medium, since only so much can be portrayed by animated visuals as far as atmosphere and emotions go. With such an increased expectation for music in anime, the competition must be fierce, and it must surely be a lot harder for the average composer to get noticed.
Likewise, considering Japan’s reputation of traditional gender roles and scanty attempts at gender equality— Japan ranked 54th of 93 countries in 2008 according to the Gender Empowerment Measure, and 106th of 189 countries for the proportion of women in the House of Representatives, according to a 2009 survey— it would be especially hard for women to become successful in a competitive work force. »
- Geek With Taste
When I went to the Fantasia Film Festival in 2001, it was one of the first few film festivals I ever attended, and I was a little overwhelmed by the number of choices available and by the number of filmmakers I'd never heard of. One of the few titles that jumped off the schedule immediately for me was "Millennium Actress," the latest movie from Satoshi Kon. I knew his work already from the film "Perfect Blue," and I thought he was one of the more promising names in anime, so I wanted to attend the premiere and possibly meet the filmmaker. Instead, I ended »
Today’s question comes from reader Left_Wing_Fox, who wants to talk about Japanese anime director Satoshi Kon, who died this week from pancreatic cancer at the too-young age of 46. Hew few films include the wonderful Millennium Actress, the charming Tokyo Godfathers, and Paprika, his most recent film, which Christopher Nolan has cited as one of the inspirations for Inception, according to Empire Online. The New York Times, in its obituary for Kon, quotes Susan J. Napier, anime expert and a professor of Japanese studies at Tufts University: »
- MaryAnn Johanson
Japanese director of playful animation combining realistic drama with fantasy
Satoshi Kon, who has died of pancreatic cancer aged 46, was one of the boldest and most distinctive film-makers to specialise in animation. His main body of work – four completed feature films and an acclaimed television mini-series – was playful, sophisticated and adult. Tired of the cliches of mass-produced Japanese animation – "robots and beautiful little girls," as he once put it – Kon sought to make animation that used ambitious and often disorientating editing, intercutting and scene-shifting.
"In animation, only what is intended to be communicated is there," he once said. "If I had a chance to edit live-action, it would be too fast for audiences to follow." Kon made only sparing use of CGI in his mostly drawn films, relying on such superb animators as Shinji Otsuka and Toshiyuki Inoue.
Much of Kon's animation combines realistic drama (usually set in present-day Tokyo) with dreams and fantasy. »
- Andrew Osmond
Auteur-illustrator who proved more than anyone that cartoons are not just for kids has died aged 46 from pancreatic cancer
Director Satoshi Kon sadly passed away on Tuesday, succumbing to pancreatic cancer. He was only 46, and his legacy of work is a mere four completed feature films and one television series. So, it's likely many of you have not heard of the man – doubly likely since his films were all animated.
There has long been an argument regarding the validity of animation as a medium for adults. It's easy for many to dismiss animated film as being automatically for kids or, worse, for teenagers. But for myself and others, animation is just another way of telling a story or getting a message across to an audience. This is why I referred to Satoshi Kon as a "director" in the opening paragraph: his films are so involving and cinematic it's easy to »
- Phelim O'Neill
Satoshi Kon, one of the true visionaries of Japanese animation, died on Aug. 24 of pancreatic cancer at 46. Kon’s first film, 1999′s psychological thriller Perfect Blue, established what became a hallmark of his all-too-short career, and helped earn him a dedicated cult following in the U.S.: Mature, grounded storytelling spiced with a distinctive and substantial magical surrealism. His 2002 follow-up, Millennium Actress, blurred the lines between an enigmatic Japanese movie star’s real life and film career; it won Kon two Annie award nominations for directing and writing, and further established him as a filmmaker eager to use animation »
- Adam B. Vary
Yesterday afternoon, I heard the news that filmmaker Satoshi Kon had passed away. This information came hard, hitting me on the head like a mischievous little boy's baseball bat. The shocking news spread, at first, through Twitter. Hoped by fans to be nothing but a rumor, it was then confirmed by Kon’s co-workers at his Madhouse animation studio.
After the initial surprise of this news coming out of nowhere (the man was only 47 and was in the middle of completing yet another highly anticipated film), I had to come to terms with what about this news made me so angry: Kon was an amazing talent, not just in his field but in cinema in general, and the sadness of his passing comes not just from the fact that a man’s life has been cut so short—important as that must be to his personal friends and family—but »
- Arya Ponto
Veteran anime writer/director Satoshi Kon has passed away in Tokyo at the age of 47. The news first spread via a Twitter post from industry fellow Yasuhiro Takeda of Studio Gainax, but has since been confirmed by Kon’s co-workers at Studio Madhouse. Details of his death have yet to be made public. Kon helmed half a dozen films, many of which found success at home and abroad. He first gained international recognition for his film Perfect Blue, a taut, psychological thriller released in 1998. Kon followed up this success in 2001 with Millennium Actress — an ode to the Japanese film industry — and Tokyo Godfathers in 2003. Kon next dabbled in television, writing and directing the 26-episode series Paranoia Agent. His most recent film to make waves was 2007’s Paprika, a fantastical, sci-fi journey through the world of dreams bearing striking similarities to Christopher Nolan’s 2010 film Inception. Kon was working on a »
- John de Perczel
This is shocking news indeed: mere hours ago people at the Madhouse anime studio confirmed that legendary director Satoshi Kon has died, aged 46.
Satoshi Kon worked on several anime classics under Katsuhiro Otomo and Mamoru Oshii, but is most well-known for his own films released by Madhouse: "Perfect Blue", "Millennium Actress", "Tokyo Godfathers" and of course "Paprika". He also made the brilliant 13-episode series "Paranoia Agent". Currently he was working on his new film "The Dreaming Machine" which was scheduled for release next year.
To say he will be missed is an understatement. I think I will revisit "Paprika" tonight, with the commentary track on...
(Thanks go to the Otakon Web Board for spreading the news, and to Peter van der Lugt for alerting me) »
Satoshi Kon, the Japanese director of animated films such as Tokyo Godfathers, Millennium Actress and the Inception-influencing Paprika, has died at the young age of 47. The director reportedly lost a battle with cancer. News of the director's passing originally came via a tweet from Takeda Yasuhiro, then seems to have been confirmed by other sources, such as the UK Anime Network. I'm by no means an authority on anime as a form. But the artistry of Kon's films is impossible to ignore, and his best work had the ability to bring anime to new audiences. In many ways, he was second only to Hayao Miyazaki as an anime director who could command a global audience. News of his passing comes as a great shock. A writer and animator working since the early '90s, Kon's directorial career began with the 1998 release of Perfect Blue, and he really began to come »
- Russ Fischer
Downer for anime fans: acclaimed filmmaker Satoshi Kon has reportedly passed away from cancer at age 47. Kon started as a manga artist and graduated to anime features with the drama Perfect Blue, which he followed with the comedy Tokyo Godfathers, the time-spanning memoir Millennium Actress and the TV series "Paranoia Agent". The influential filmmaker had been working on his lastest project The Dream Machine with his regular collaborators at animation company Studio Madhouse. His last completed film was the trippy dream adventure Paprika: »
- Dave Davis
This is a sad bit of news, I've just learned about the passing of Satoshi Kon - an important Japanese anime filmmaker who gave us Millennium Actress, Tokyo Godfathers, and Paprika (from which was the last time we met with the filmmmaker). In honor of the filmmaker and his fans, we are republishing this sit down with Kon originally published May 24th in 2007. ---- Paprika is the latest feature length work from Japanese anime auteur Satoshi Kon (Tokyo Godfathers, Paranoia Agent, Millennium Actress), and adapted from a novel by Japan’s most renowned science fiction author Yasutaka Tsutsui. The plot centers around an experimental invention called the DC Mini, that allows its users to enter another person’s dreams. 29 year old Dr. Atsuko Chiba is a brilliant but conservative research psychotherapist working on the DC Mini project, and also uses the device to moonlight as super heroine Paprika, entering into »
It’s being reported tonight that director Satoshi Kon has passed away at the age of 47. Official confirmation is expected to follow but various sources are confirming the sad news.
In his short life he wrote, animated and directed some of the most magical, thought provoking and emotionally engaging anime films, which thankfully made their way across the world.
As a staff director at the prolific Madhouse Studio he created works such as Perfect Blue, Millennium Actress, the TV series Paranoia Agent, the sublime Tokyo Godfathers and my personal favourite, Paprika.
To be honest there’s nothing more to say other than this is really terrible news. I was late to the Satoshi Kon show, seeing an early trailer for Paprika and falling in love with what I saw, I then devoured every second of his work I could get my hands on.
Like the very best art his work »
- Jon Lyus
Rumors started to circulate around Twitter today that anime luminary Satoshi Kon, director of such truly brilliant films as Millennium Actress and Paprika, has died at the age of 47. One of the first reports came in from Takeda Yasuhiro, a founding member of Gainax, the animation studio most famous for producing Neon Genesis Evangelion. Now both Ani-Gamers and Anime Reel is reporting that the above tweet is most likely true and while confirmation will have to wait until it's daytime in Japan, Anime Reel writes that other sources have confirmed Yasuhiro's claim, including Masao Maruyama, president of Madhouse Studios (Note: Maruyama didn't say Kon died explicitly, just that a major filmmaker had passed away). According to Anime-Gamers' source, Kon died of cancer.
There's still a chance that this could just be a nasty and rather inexplicable rumor but it looks less and less likely. We will update you if the »
- Simon Abrams
British site UK Anime Network is reporting that director Satoshi Kon passed away yesterday at age 47, apparently due to cancer. This marks the untimely death of the filmmaker second only to Hayao Miyazaki in making inroads for anime films both internationally and as weighty works of cinema worthy of serious critical consideration.
From the 1998 Hitchcockian tale of a menaced pop idol "Perfect Blue" to 2001's look into the life of a aging performer "Millennium Actress" to 2006's saga of shared dreams (out-"Inception"ing "Inception") "Paprika," Kon was fond of exploring and blurring the lines between reality, memory and dreams. These are themes animation is particularly suited to, and ones that can be seen early in his career, in the "Magnetic Rose" segment of omnibus film "Memories," for which he wrote the screenplay, and later in "Paranoia Agent," the series he created.
2003's "Tokyo Godfathers" was his lone linear narrative, »
- Alison Willmore
Kon started his career as a manga artist and editor in Young Magazine, and then made his screenwriting debut with 'Magnetic Rose, a section of the anthology film Memories. Kon made his directorial debut film, Perfect Blue, in 1997, followed by Millennium Actress, Tokyo Godfathers, Paprika and the television series Paranoia Agent. He had been at work on his fifth film, The Dream Machine since 2008. »
- firstname.lastname@example.org (Flicks News)
Where were the gutsy pink-haired heroines of Japanese anime when I was growing up? I had to make do with Lady Penelope
Last week I watched films in which chicks snog each other before being hacked to pieces (Lesbian Vampire Killers), women are kidnapped (Punisher: War Zone) or relegated to naked non-speaking extras (Valhalla Rising), and Oscar-winning actresses are reduced to the slutty denizens of one man's harem (Nine). I've also watched or rewatched a lot of anime, in which girls pilot giant robots, hunt down vampires or learn ninja skills. I think you can see what I'm getting at here.
For years I avoided anime because I was put off by the big saucer eyes. Then it dawned on me the faces and figures were no more stylised than in the prints of, say, Utamaro or Hokusai. It's just a way of looking at the world. The film that truly converted me, »
- Anne Billson
Happy Valentine's Day, kids. Hope you've all got loved ones to squeeze today, and have better things planned than to see schmaltzy, unchallenging romance flicks like, er, Valentine's Day. Submitted for your approval is a list of movies in the spirit of love that aren't your typical rom-coms or melodramas—the unusual suspects with something a little strange accompanying the couplings.
Rather than just list movies with romance between quirky characters, though, since many people would be quick to name unconventional couples like Harold and Maude or Bonnie and Clyde, how about we seek the more trying scenarios? Here are some movies that attain sweet, robust romance even in situations that are normally hard to swallow. But you don't need to make sense of love to get it.
• • •
Why it's weird? It begins with rape.
In most relationships, when the man rapes the woman, what follows is usually the end. »
- Arya Ponto
18 items from 2010
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