This article is from WeChat official account:Animation Academic Party (ID: babblers), author: palomar, from the head of FIG: “red pepper” theme
Under the shadow of the epidemic, the film market, which was forced to suspend for half a year, finally sounded the clarion call for recovery at this year’s Shanghai Film Festival.
The frantic audience rushed to buy not many movie tickets. Among them, the hard currency movie, “Red Pepper” by Minami is definitely one of them.
The movie ticket of “Red Pepper” is almost “second empty”
The “Red Pepper” movie ticket was fired at a unit price of 600 yuan in the second-hand market…
The Shanghai Film Festival chose to re-screen Jin Min’s movie at this time, naturally because August 24 this year is the tenth anniversary of the death of Director Jin Min.
In the ten years since his death, there is no shortage of excellent works in Japanese animation. But the call to miss Jinmin has never stopped.
Douban “Remembering Jinmin” Station
The unique split and narrative structure of Jinmin’s animation has also become an editing method that is constantly being used for reference, including Nolan and Darren Aronofsky, who have already aroused heated discussions.
Nolan’s “Inception of Dreams” is considered by many to draw on the setting of using mirrors to express dreams in “Red Pepper”.
Comparison of mirror design in “Inception” and “Red Pepper”
Aronovsky’s “Black Swan” and “Requiem of Dreams” directly used the character setting and storyboard design of “The House of Unma”. Whether intentionally or unintentionally, his absorption of Jinmin’s work in his creation is obvious.
“Requiem for Dreams” borrowed from “The House of Unma” in the storyboard, and “Black Swan” also used the design of the main plot You can see the shadow of “The House of Wei Ma”. After the release of “Dream Requiem”, many people pointed out that the film may have copied “The House of Unma”, and even Jin Min expressed unhappiness in the interview included in “The House of Unma” BD. As a remedy, Allenowski bought the adaptation rights afterwards.
However, what you may not know is that in the ten years after Jin Min’s death, his legacy has also nurtured and influenced the younger generation of animation film directors.
From “Spider-Man Parallel Universe”, which won the Oscar for best animated feature film, to “Road to Happiness”, which won the Golden Horse Award for best animated feature film, and even “Travel to Busan” that once swept social networking sites, these film directors have all Once said that Jin Min had a profound influence on himself.
On the tenth anniversary of the death of Director Min today, let’s take a look at the new generation of films and animations influenced by his work, and witness the style of Jin Min still living in the works of his successor.
“Happy Road” X “Millennium Actress”
“The Road to Happiness” is a Taiwanese film released in May 2018.
Poster of “The Road to Happiness”
Lin Shuqi, the protagonist who settled in the United States, learned thatMy grandmother passed away and hurried back from the United States to Xingfu Road outside of Taipei.
Lin Shuqi, who returned to her hometown, recalled every bit of her childhood growth, and met her childhood friends who went on separate journeys later, and in the process, she also realized the true meaning of “happiness”.
This animation is a semi-autobiographical film by director Song Xinying. After graduating from Taiwan University, she studied in Japan and the United States successively. After returning to Taiwan, she planned to shoot a live-action movie, but at the suggestion of her friends, she decided to shoot a hand-drawn Style two-dimensional animation.
Song Xinying
In the realistic narrative, the director added various memories and fantasies of the protagonist Lin Shuqi, and interspersed with multiple narrative lines to describe the protagonist’s childhood, youth and current experiences.
Many people have seen the shadow of Takahata Hoon’s “The Fairy Tale of the Years” from “Road to Happiness”, but in an interview, the director said that it was actually more influenced by Jin Min’s movie.
“Many people think that my movies always have the shadow of Takahata Hoon, but in fact, I learned more from Jin Min.
Insert memories in reality, insert the fantasy of the protagonist Lin Shuqi, these are all inspirations given to me by Director Jin Min. His unique editing method and the way of dealing with movie time have given me great reference.
Although it is completely invisible from the visual effects, Jin Min helped me a lot in editing and narrative methods. “
The “editing and narrative method” mentioned by director Song Xinying is Jin Min’s unique “Ma”tch cut” technique.
Match cut in “The Road to Happiness”
Match cut in “The Road to Happiness”
“Match cut” is translated in Chinese as “matching cut”, which uses similar graphics, colors or actions to complete the scene transition.
“Match cut” is not Jin Min’s original work. The most famous work before this was Kubrick’s 2001 A Space Odyssey. The apes at the beginning of the film threw their bones into the air. Civilization has developed to start interstellar travel.
“2001 A Space Odyssey”
Among Kamamin’s works, the most impressive work with matching editing is “Millennium Actress”. Fujiwara Chiyoko constantly switches the roles he plays, and the background is constantly changing, but Chiyoko himself does not change. .
“Millennium Actress”
Many shots of “Road to Happiness” can see the shadow of “Millennium Actress”. The protagonist Lin Shuqi shuttles through scenes of various eras, sometimes returning to elementary school, sometimes flashing back to the present, but like Chiyoko, she It is still Lin Shuqi, still telling her own story.
“The Road to Happiness”
After “Road to Happiness” was released, it won the Golden Horse Award for Best Animated Feature Film, Tokyo Animation Awards’ Animated Feature Film Jury Award, and Stuttgart International Animation Film Festival’s Best Animated Feature Film Award.
“With a moving and delicate script, the protagonist Lin Shuqi is the most contradictory and ordinary protagonist in the history of Taiwan animation. Her confusion and confusion in life show the epitome of Taiwan’s journey over the past few decades.” Kaohsiung Film Festival Judge Zheng Binghong commented on this movie in this way.
And this is obviously what Chiyoko experienced in “Millennium Actress”.
The villain tried to use the collider to find his wife and children in other parallel universes, but unexpectedly caused Spider-Man from other universes to come here, including a female spider-man who controls the mech. The descendant spider man, the black and white spider man in the 1930s and the “spider pig man” from the animal universe.
Other Spider-Man in the parallel universe
The unique parallel universe setting makes the movie break away from the previous mode of single protagonist and single art setting. The whole movie is obtained through the editing of different protagonists’ respective art styles and the attempt to insert the comic strip style into the movie. Unprecedented freshness.
In the performance of Japanese Spider-Man, the movie uses Japanese animation style art design
This unique editing aesthetic is naturally borrowed from Japanese animation. Not only did the “Two-dimensional Girl” become a member of Parallel Spider-Man, the main creative team said in an interview.: “The creative techniques of Japanese animators headed by Kon Toshi are still world-leading, and we are still on the way to catch up. The artistic realization methods we rely on for reference are still almost all from Japan.”
The main creative team told the Japanese media about Jin Min’s influence on them
In Jinmin’s movie, the cross-dimensional editing technique used in “Spider-Man In Parallel Universe” is obviously more sophisticated and the coordination with the plot is more organic.
In “Red Pepper”, Officer Fenchuan tells the red pepper what is the “axis line”(the line between the camera and the photographed object) And “pan focal length”(using the aperture and focus point to control the depth of field range), the movie lens also jumps out of the plot, using The perspective is to give an example of the audience and the red pepper as the character.
This is called “narrative cross-layer” in narratology theory. In addition to “Red Pepper”, films that can better reflect Jin Min’s cross-layer editing methods must be “Weima The Department House.
If the cross-layer editing of “Spider-Man Into the Spider-Verse” is justWith the addition of characters and interspersed background design, the cross-layer editing of “The Department of Wei Ma” blurs Wei Ma’s identity, divides Wei Ma into countless personalities, and leaves the audience in a situation of not knowing what is true.
“Busan Tour” X “Red Pepper”
It seems strange that “Travel to Busan” appeared in Jin Min’s list of borrowers.
“Busan Tour” poster
This first zombie movie in Korean history kept breaking box office records as soon as it was released. Rotten Tomatoes also gave a 76% freshness rating.
Even with professional film critics, the film has mixed reviews and controversy, but it is undeniable that “Travel to Busan” has still gained a certain degree of public popularity and recognition.
Such a big-selling zombie commercial film seems to be incompatible with Kan Min’s style.
However, the director once said in an interview that he was influenced by Nakajima Tetsuya and Kontos, and he was greatly inspired by Japanese animation and manga in the film.
This inspiration is reflected in the action scenes of zombies: the scene of countless unconscious infected people blindly rushing in one direction is quite similar to the unconscious parade in “Red Pepper”.
These two types of out-of-control are based on the unconsciousness of the crowd.
If the infected person in “Travel to Busan” has lost the way of thinking as a real person, then the out of control person in “Red Hot Chili Pepper” has lost the ability to control their dreams.
The blind mass parade is a way of expression that Jin Min often uses. In addition to “Red Pepper”, his earlier TV version of the animation “The Delusion Agent” also often used this kind of scene to make a comment. A scene of rampage appeared in the collective unconscious.
” Delusion Agent”
This expression technique of Jin Min has also been borrowed from contemporary art.
At this year’s Yokohama Triennial, the artist Teppei Kim used white latex paint to cover the heads of various anime characters that we know well, as if some kind of parasite parasitic on the characters’ heads. The series of works are interpreted as the various delusions, fears, distress and uneasiness produced in people’s hearts. This delusion of white sticky objects can undoubtedly remind people of the nightmare overflowing into the real world in “Red Pepper”.
After the death of Director Jin Min, his thousands-word suicide note was also published. Even if there is not much time left, he can say humorously:
“But I hope you understand a little bit. Because Jinmin is’such a person’, he can make animations that condense many different ingredients from others. This may be very arrogant, but please Please forgive me for the face of cancer.”
At the moment of his ten-year death anniversary, we may be able to understand a little bit about Jin Min’s works that condensed different ingredients from others, and brought meaning to us and the world.
This article is from WeChat official account:Animation Academic Party (ID: babblers), author: palomar