the book of the dead kawamoto

Besonders auffällig ist der rituelle Kontext von THE BOOK OF THE DEAD, diesem tief Kawamoto betont den Unterschied zum staatlichen Gedenken im. The Book of the Dead is a Japanese historical Buddhist stop motion animation feature film directed by Kihachirō Kawamoto. It is about the legend of. ladvin.nu? Rengoku Deadroll von Kawamoto Homura und Yoshimura Hideaki läuft seit bei Kadokawa im.

In Kawamoto studied for a year in Prague under the Czech animator Jiri Trnka The Hand , a period that was to cement his passion for the medium and exert a considerable influence on his style.

In particular his earlier short films, such as The Travel, clearly demonstrate his Czech mentor's highly metaphorical brand of East-European surrealism.

Kawamoto speaks humbly about his formative experience in Prague at the tender age of 38, saying it was the first time he truly understood what a puppet was.

He recalls receiving a letter from Trnka: So he wrote that it would be his pleasure to welcome me to Czechoslovakia to study puppet animation under him'.

The Book of the Dead undoubtedly seeks this state of transcendence in spite of, or even because of, its Buddhist subtexts. Set in the Nara period AD , just after the introduction of Buddhism from China, The Book of the Dead is a moral tale with supernatural elements, which bears similarities with that great period ghost story Ugetsu Monogatari by Kenji Mizoguchi.

It follows Iratsume, the devout and noble daughter of the second house of the Fujiwara clan, who has taken upon herself the rather futile task of transcribing copies of the Amida Sutra.

On the day of the Autumn Equinox, after working day and night for over a year and suffering from severe fatigue, she hallucinates seeing the figure of the Buddha radiantly shining over the peak of the holy Mt Futakami.

Without any awareness of her actions, or the storm that rages outside, she sets out from the house as though possessed, and her journey takes her to a sacred temple.

In this space between the earthly and spiritual realms begins a Shakespearian tale of mistaken identities, which fluctuates between longing and repression, death and life.

The ghost of prince Otsu, assassinated many years ago by the emperor's widow in a court intrigue, believes Iratsume to be her great aunt Mimimo no Toji, whose eyes met his as he was about to be beheaded by Iware pond.

Since that encounter prince Otsu has developed a 'terrifying', yearning attachment to the secular world, and so his corpse wanders the land seeking his unrequited love, calling for her to bear him a child that may speak his name.

Meanwhile Iratsume, whose devoutness has led her to abandon the world in her search for the divine, despite the frustration of her many suitors, mistakes Otsu's festering pale flesh for the pure manifestation of the Buddha.

Retrieved 12 September Retrieved from " https: Views Read Edit View history. In other projects Wikimedia Commons. This page was last edited on 8 October , at By using this site, you agree to the Terms of Use and Privacy Policy.

They forge a bond, bringing comfort and peace to each other — a bond that allows the prince's soul to find rest. The film follows the Japanese teaching that came from Buddhism: Kawamoto has said that the film is dedicated to all the innocent people who have died in recent wars.

Acclaimed Russian animator and director Yuri Norstein was invited to work on the film as a "guest animator. From Wikipedia, the free encyclopedia.

Animation portal Anime portal Film portal. Works of Yuri Norstein.

Archived from the original on 9 July Retrieved 29 August A brief guide to experimental Japanese animation". Self Portrait ".

Archived from the original on Retrieved 12 September Kawamoto's work, still crying out for discovery despite recent retrospectives at the Karlovy Vary Film Festival and the Berkeley Art Museum , demonstrates that there is a tantalising other world of animation in Japan beneath the veneer of what is widely known as anime.

Miyazaki's international appeal was certainly aided by his adoption of a style that was partway between Japanese and western sensibilities - no bug-eyed blue-haired cuties here but recognisably human characters who precariously make contact with fantasy worlds - making him something of a Kurosawa of the anime world; drawing on western fairytales like Alice in Wonderland just as Kurosawa modelled his most iconic works on the westerns of John Ford.

Kawamoto, on the other hand, has kept his focus on traditional Japanese narratives and stylistic elements setting his stories in complex historical contexts and taking influences directly from Noh and Kabuki theatre.

Miyazaki also benefited from sticking to traditional hand-drawn animation techniques, when Disney were abandoning the form that they had presided over for so long, making his work the Mecca for disillusioned western audiences searching for something more 'innocent' although Miyazaki's pure style often disguises a more mature depth.

In contrast, Kawamoto's embracing of puppet animation is far more imbedded in a culturally specific Japanese tradition of Bunraku puppet theatre, a form that doesn't have a strong parallel in the western consciousness beyond the crass sea-side exploits of Punch and Judy and that lifeless symbol of American consumerism, Barbie, and her many clones.

The art form of Bunraku was founded in Osaka in , perhaps as a reaction to Kabuki theatre from which it borrowed many of its narratives, and set about erasing the performance of the actor, laying the focus instead upon the written word as loyally interpreted by a band of self effacing black-suited puppeteers.

Given how little Kawamoto strives for the spotlight with his modestly beautiful productions, he can certainly be seen to be operating in this tradition.

Despite the cultural specificity of his work, which might act as a barrier to the kind of popular appeal Miyazaki has enjoyed often in spite of his rather abstract approach to narrative, it is nonetheless fitting that The Book of the Dead was premiered at the Karlovy Vary Film Festival during a retrospective of his work in In Kawamoto studied for a year in Prague under the Czech animator Jiri Trnka The Hand , a period that was to cement his passion for the medium and exert a considerable influence on his style.

In particular his earlier short films, such as The Travel, clearly demonstrate his Czech mentor's highly metaphorical brand of East-European surrealism.

Kawamoto speaks humbly about his formative experience in Prague at the tender age of 38, saying it was the first time he truly understood what a puppet was.

He recalls receiving a letter from Trnka: So he wrote that it would be his pleasure to welcome me to Czechoslovakia to study puppet animation under him'.

The Book of the Dead undoubtedly seeks this state of transcendence in spite of, or even because of, its Buddhist subtexts. One evening, after completing her one-thousandth copy of a sutra, her view the figure she has been longing to see again is obscured by a rainstorm.

In pursuit of it she slips away from her household to the foot of the mountain, where she arrives at a temple that women are forbidden to enter.

They forge a bond, bringing comfort and peace to each other — a bond that allows the prince's soul to find rest.

The film follows the Japanese teaching that came from Buddhism: Kawamoto has said that the film is dedicated to all the innocent people who have died in recent wars.

Acclaimed Russian animator and director Yuri Norstein was invited to work on the film as a "guest animator. From Wikipedia, the free encyclopedia.

The book of the dead kawamoto -

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The Book Of The Dead Kawamoto Video

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