The Films of Kore-eda Hirokazu

Ehrlich, Linda C.

doi:10.1007/978-3-030-33051-4

Cited by 3 publications

(1 citation statement)

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“…But what if we approach cinema from the perspective of the natural elements? Some studies have recently taken on this task by exploring the role of water, earth, air, fire, rain, snow and sunlight in cinema's "stylistic and narrative functions", whether more broadly (McKim, 2013;O'Brien, 2018) or in relation to specific directors (Bird, 2008;Ehrlich, 2019).…”

Section: Cinema's Elemental Naturementioning

confidence: 99%

Elemental World Cinema

Luca

Mroz

2023

Stud. World Cine.

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Recent ecocritical strands of thought have proposed a conceptualisation of the environment on the basis of its elemental constitution rather than an amorphous 'nature' supposedly divorced from humans (Macauley, 2010;Cohen & Duckert, 2015;Peters, 2015). In this burgeoning 'elemental ecocriticism' , the classical elements -earth, air, fire and water -reappear as objects of sustained philosophical enquiry and as concrete entities with which to recalibrate our interaction with the environment in the so-called Anthropocene. As David Macauley (2010: 2) suggests, we sensuously encounter (and domesticate) earth, air, fire and water on a quotidian and often distracted basis; to reanimate these elements can therefore "make us aware of the complexand sometimes very necessary -mediations that exist between us and the environment".In his influential The Marvelous Clouds: Toward a Philosophy of Elemental Media (2015), John Durham Peters takes this idea one step further. He notes that the current conception of media as informational and communicative message transmitters obscures the fact that, up until the nineteenth century, medium widely designated earth, air, fire and water as dynamic vessels and

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Section: Cinema's Elemental Naturementioning

confidence: 99%

Elemental World Cinema

Luca

Mroz

2023

Stud. World Cine.

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Law, Justice, and Community in Kore-eda’s Shoplifters and Von Trier’s The House That Jack Built

Vilaça

2023

Int J Semiot Law

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Liquidity and Stillness: The Sea and Shore and the Furo in Kore-eda Hirokazu’s Cinema

2023

Somatechnics

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This paper focuses on two recurring cinematic spaces of water: the sea and shore and the furo (Japanese bathroom) in the films of the contemporary Japanese auteur Kore-eda Hirokazu. 1 To develop a somatechnical perspective to address the dynamics between water, bodies and technologies, I deploy the notion of ‘the domestication of water’ ( Macauley 2005 ), denoting the process of how humans make a constant effort to maintain water in a state between liquidity and stillness. This lived interaction between humans and water can illuminate the leitmotif of kinship through the two cinematic spaces. In so doing, I firstly focus on the final shots of the sea and shore from Maborosi (1995) and Our Little Sister (2015). The mise-en-scène of the sea and the shore can create a vision of stillness on the surface but also a sense of liquidity underneath, illustrating that kinship is an ongoing process which can never be shaped but is constantly being re-shaped. Following the flow of water, I then observe the space of the furo in Still Walking (2008) and Like Father, Like Son (2013). By examining two bath routines, co-bathing with children and bathing-in-turn, I argue that the water in furo is by no means in a still state but rather is always circulating between different bodies. The circulation can not only help nurture the parent-child intimacy through co-bathing, but it also enables a theatrical stage on which to convey conflicts of kinship via bathing-in-turn. In conclusion, by further linking the representation of water and kinship in Kore-eda’s cinema, I propose the idea of liquid kinship: a lived process of making rather than a static state of being. The domestication of water between stillness and liquidity epitomises this liquid form of kinship.

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The Films of Kore-eda Hirokazu

Cited by 3 publications

References 0 publications

Elemental World Cinema

Elemental World Cinema

Law, Justice, and Community in Kore-eda’s Shoplifters and Von Trier’s The House That Jack Built

Liquidity and Stillness: The Sea and Shore and the Furo in Kore-eda Hirokazu’s Cinema

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