Text/Guan Er
Public account: Aside from the book, Toshiyoshi Kon, the outstanding Japanese film animation director, is a leader in using animation images to convey complex inner emotions and spiritual world, and achieves the filmization of animation to the extreme. The formation of his distinctive artistic style has established his irreplaceable position in the Japanese animation industry.
His works use more cinematic creative concepts, superb editing techniques and surrealistic expression of consciousness, so that his animation works have advanced vision, excellent lens performance and emotional performance charm, which can be worthy of Department of boutique evaluation.
Taking the lessons of Nolan and other Hollywood directors, Jin Min's works can also go from animation to movies shot by real cameras, out of the stereotype of thinking and production.
one. Jin Min and the female characters in the play
As a very charismatic and important representative of today's animation director industry, Toshi Kon is the representative of Japanese animation film directors after several veteran animation directors such as Hayao Miyazaki, Oshii Mori, and Otomo Katsuhiro.
Until the unfortunate death of director Jin Min in 2010, not counting the unfinished "Dream Machine", a total of 4 animated films and 1 TV animation have been completed, but each of the few works is very unique. His personal style and artistic charm are classics.
Director Jin Min's works are almost all centered on people's refined world and inner growth in today's era. At the same time, he is reputed to create animation in the way of filming, and his animation films are also absolutely adult animation films.
Jin Min likes to take women as the protagonists, and the themes are mostly related to the love, growth, destruction, transformation and other aspects of female characters. The images of women running show the characters' struggles and struggles again and again.
Because female characters have always been in the position of being stared at in the film field, and they are the objects of desire. Jin Min chose women as the first protagonist. Features to create the illusion and unreality of dreams.
For example, the man Chiyoko, the protagonist of "Millennium Actress", has been running to find is a symbol of love. The audience can't even remember his appearance, but followed her from girl to old age, from ancient times to modern times, from fantasy to reality.
2. Surrealistic depiction
Jin Min has extraordinary control in expressing stories intertwined with fantasy and reality. He often reveals the essence of real life through the method of infiltration of fantasy into reality.
He is good at focusing on unique psychological elements and expressing in changing personalized image styles. He relies on fantasy worlds, dream worlds, drama worlds and online virtual worlds to tell suspenseful stories that are exciting and full of tension. rebuilding oneself.
Jin Min said: "Sometimes, I have surreal dreams... Dreams are very creative and are first-class movies". In Jin Min's works, there are a lot of "dreams" of all kinds. These "dreams" inject vitality into his films and create characteristics that others cannot imitate.
The settings, composition, and color value of each scene shot show people a world that is both real and dream-like. Everything seems to be virtual and real, and it is impossible to guess like a dream. This is what Jin Min created. Source of inspiration.
Japan is composed of four islands of different sizes and is surrounded by the sea on all sides, creating the Yamato nation and Japanese culture. Because of the introversion of the region, Japanese culture has been changed by self-transformation. The variability of this culture Deeply influenced the Japanese character.
For example, Yasujiro Ozu who filmed "Tokyo Story", in terms of form and style, Yasujiro Ozu used a conservative fixed lens, shooting upside down, shooting characters from the front, prohibiting the actors from making large movements, and the lens must be stable. Confined to a Japanese-style house with a few tatami mats, he guides "rebellious" disciples like Imamura Shohei.
For another example, in "Chrysanthemum and the Sword", the "chrysanthemum" represents politeness and politeness, and the "knife" represents the martial arts and combativeness", implying the dual character of the Japanese, that is, sensitivity and contradiction.
Due to the influence of Japanese culture, Jin Min's narrative style is mainly "introverted narrative". Contrary to Miyazaki's "extroverted narrative", Jin Min's narrative method is delicate and sensitive, like a small world. Each small world has its own story, but each is on a main axis, and the larger world unfolds as the story progresses.
From "Weima's House", the main perspective of the narrative is Weima, showing another world view from Weima's world view, that is, Weima's manager, and the world view of fans is in Wema's world view. Many of the things she feels are actually possessed by her subconscious, and the rest are like mirrors, directly reflecting her subconscious thoughts.
3. The film style of non-linear narrative
The so-called "non-linear narrative" is a narrative mode based on "linear narrative". "Linear narrative" is a relatively classic and relatively old way of storytelling, that is, showing a complete story step by step according to the cause and effect of the story and according to the timeline.
As the name implies, non-linear narration disrupts the chronological order of the story, re-collages it, and forms a non-linear timeline, which is another method of storytelling. This is also an important narrative technique in Jin Min's film style. This kind of non-linear narrative is also a good attachment for Jin Min to create dreams, and it is a favorable promoter for creating a surreal style.
The biggest difference from the previous dream theme is that it does not deliberately distinguish between fantasy and reality, and even deliberately blurs the boundaries to create a sense of interaction between the virtual and the real. Movies are visual products, and Jin Min not only needs to show the sense of speed and depth in the most intuitive but for the picture. He uses skillful similar movements and seamless transitions with similar sounds, which not only eliminates the sense of disintegration between the transitions of the pictures, but also effectively grasps the rhythm and time span of the film.
It can be seen from the first "Weima's House" that although Jin Min, who became a director for the first time, is still very young in his narration, he has found a new way to use this narration method "spindle repeated narration". This narration method is With a clue as the main trunk, countless branches are derived from it, and these branches have been repeatedly overlapping with the main trunk to promote the development of the story. This makes his work look fuller and makes up for his weakness in controlling the story.
In "Delusional Agent", the main line of the story is the teenager wearing golden roller skates to attack others, and the story unfolds from the perspective of the attacked person; in "Tokyo Godfather", three homeless people have similarities. The background experience, that is, the absence of family, is a polyphony that runs through the story with the little baby girl as the mainstay.
The secret of Jin Min's use of this technique is to simplify the trunk to make the trunk clear and clear, and reduce the narrative tasks, so that the branches can be varied and the trunk can be more enriched.
Finally, I just hope that my little Jin Min fan can see his unfinished posthumous work "Dream Machine" on the screen one day, even if it is like "A Dream of Red Mansions" after 40 guesses.
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