Introduction: A Filmmaker for All Seasons

Learning to Love What Passes: Sensual Perception, Temporal Transformation, and Epistemic Production in Hirokazu Kore-eda's After Life

“…25 As Desser claims, Ozu's conventional "still lifes" indicate spatial change more than temporal passage; ellipsis occurs in the space and time of the intermediate shots (11). Highlighting the changes of the season (the blossoming trees, the bare autumnal branches, the snow-covered limbs, the leafy trees), these long-take, static shots elicit a spectatorial experience of the real time of the natural world, while their serialization punctuates the film's swift temporal momentum (one week yielding roughly a seasonal cycle, all of which happens within two hours of screen time).…”

Introduction. The Misleading Discovery of Japanese National Cinema

“…Burch´s work, in line with other influential works, such as that of Barthes (1984), was also key to defying the Eurocentrism pervading Western studies in Japan because it analysed its cultural products in close relation to the context of their creation. This was crucial for overcoming the initial analysis of Japanese films as 2 Thus, Mizoguchi´s representation of self-sacrificing women have been assessed in relation to the Japanese concept of shibui (melancholy + serenity), his off-centred shots can be explained with the concept of kire-tsuzuki ('cut') theorised bȳ Ohashi (1994) and Ozu´s depiction of the cycles of life, silence, and emptiness are analysed using elements from Zen Buddhism and Japanese cultural and literary tradition such as the mujō ('awareness of impermanence'), mono no aware ('pathos of things') or mu ('emptiness') (see Bordwell 1988;Desser 2006). dominated by a feeling of estrangement experienced by´distant observers'.…”

Corpo e cotidiano no cinema de fluxo contemporâneo / Body and everyday life in “flow esthetic” films

“…Neles vemos a adoção ostensiva do presente como tempo narrativo, com seus vazios e uma câmera estática que acentua o constante movimento dos corpos de personagens imersos num hic et nunc praticamente despido de plot aparente. A elipse é adotada como princípio narrativo, inclusive com ocasionais elipses-surpresa, como destaca DavidDesser (1997) ao citar a discussão dos pais em Era uma vez emTóquio (1953), referente a uma troca de trem em Osaka a fim de visitar o filho mais novo (que vive e trabalha nessa cidade). A referida visita acaba ocorrendo, porém fora do espaço fílmico, uma vez que a cena seguinte, ao contrário da expectativa criada pelo diálogo, já ocorre em Tóquio, na casa do filho mais velho.…”