nocinema - Koreeda 1 - Jerome Joy website

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{NO_COMMENTS} \|2 [../files/articles/nocinema/template/2.jpg][../files/articles/nocinema/template/3.jpg][../files/articles/nocinema/template/5.jpg][../files/articles/nocinema/template/6.jpg][../files/articles/nocinema/template/10.jpg][../files/articles/nocinema/template/12.jpg][../files/articles/nocinema/template/13.jpg][../files/articles/nocinema/template/15.jpg][../files/articles/nocinema/template/1.jpg]\| \| \|r {small}« Tout ce qui bouge sur un écran est du cinéma. » (Jean Renoir){/small}\| ---- {html} <TABLE width="100%"><TR><TD ALIGN="left">  </TD><TD ALIGN="center"> <A HREF="index.php?page=Nocinema Studies"><small><b>Sommaire / Contents</b></small></A></TD><TD ALIGN="right"> </TD></TR></TABLE> {/html} ---- {html} <TABLE width="100%"><TR><TD ALIGN="left"> </TD><TD ALIGN="center"> <!--← <A HREF="index.php?page=nocinema - Deren 2"><small>Maya Deren - (Ritual in Transfigured Time, 1946)</small></A>--> </TD><TD ALIGN="right"><!--<A HREF="index.php?page=nocinema - Deren 2"><small>Maya Deren - (Ritual in Transfigured Time, 1946)</small></A> →--></TD></TR></TABLE> {/html} {br}{br}{br} '''mot-clés''' : ---- {html} <b>Hirokazu Kore-eda, Maborosi, 1995</b> <br /><br /> <iframe title="YouTube video player" class="youtube-player" type="text/html" width="640" height="510" src="http://www.youtube.com/embed/cb_swjk5V00" frameborder="0" allowFullScreen></iframe> <br /><br /> <iframe title="YouTube video player" class="youtube-player" type="text/html" width="640" height="510" src="http://www.youtube.com/embed/37gqs2YtBHs" frameborder="0" allowFullScreen></iframe> <br /><br /> <hr> <h3>Maborosi (幻の光, Maboroshi no hikari?, lit. « lumière fantôme »)</h3> <hr> <b>Read the full video : <A HREF="http://www.youtube.com/watch?v=53Uj_V0T7s8&playnext=1&list=PL7F151D3CC7BC1C95" Target="blank">http://www.youtube.com/watch?v=53Uj_V0T7s8&playnext=1&list=PL7F151D3CC7BC1C95</a></b> <br><br> <hr> <i>Kore-eda has an aesthetic that won't appeal to the casual film-goer. It is very slow-moving, and some of the indoor shots are quite dark. After a while, I got the sense that the viewer's attention is not meant to take in the whole screen, but rather parts of the screen such as the illuminated side of a woman's face in a dark room or the shapes of people reflected in water. Kore-eda seems fascinated with light and exploration of its use. Frames of illuminated subjects are contained within the larger screen frame. Light reflects of different surfaces, and at different times of the day. </i> <br /><br /> <i>The film begins with the story of a little girl's loss of her grandmother, and continues on with the story of the same little girl, now a young woman and the film's protagonist, whose life is again dramatically altered by the sudden death of her husband. Throughout the film, as a way of coping with the loss, she attempts to understand why he killed himself.</i> <br />Koreeda used natural lighting in the film rather than artificial lighting; the lighting was done this way so as to keep certain things out of focus at times, to keep them indistinguishable. <br /><br /> <IMG SRC="../files/articles/nocinema/koreeda/mirobosi_1.jpg"> <br /><br /> <IMG SRC="../files/articles/nocinema/koreeda/mirobosi_2.jpg"> <br /><br /> <IMG SRC="../files/articles/nocinema/koreeda/mirobosi_3.jpg"> <br /><br /> <IMG SRC="../files/articles/nocinema/koreeda/mirobosi_4.jpg"> <br /><br /> <IMG SRC="../files/articles/nocinema/koreeda/mirobosi_5.jpg"> <br /><br /> <IMG SRC="../files/articles/nocinema/koreeda/mirobosi_6.jpg"> <br /><br /> {/html} ---- {br}{br} {br}{br} ---- {html} <TABLE width="100%"><TR><TD ALIGN="left">  </TD><TD ALIGN="center"> <A HREF="index.php?page=Nocinema Studies"><small><b>Sommaire / Contents</b></small></A></TD><TD ALIGN="right"> </TD></TR></TABLE> {/html} ---- {br}{br}{br} ---- {plugin:FOOT_NOTES}
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