Enic-cinE

In this series, Yu Kawa Shizuka and Ryunosuke Goji discuss the meaning of watching Ghibli works on screen in the age of streaming. Here is the second part. YKS (Yu Kawa Shizuka): Through the previous discussion, I think we have arrived at one unique question: how we tackle the issue of “dynamic range” in feature animation film. Mr. Goji pointed out the sophistication of its sound(scape) design. I was fascinated by the sheer scale of sound pressure and its visuals. An ordinary setup and space at our home can hardly provide the faithful reproduction of refined sound(scape) design or scale …

In this series, Yu Kawa Shizuka and Ryunosuke Goji discuss the meaning of watching Ghibli works on screen in the age of streaming. Here is the first part. Members: Yu Kawa Shizuka Musician. Photographer. Founder of music label cucuruss. Yu Kawa Shizuka’s music explores the possibility of a speech synthesizer, and de/reconstructs the sonic boundaries of text/speech/sound. His recent project is “Armadilllllllidium vulgare”. Music: bandcamp, soundcloud Photography: note, tumblr Ryunosuke Goji Artist (Oil Painting). Recent exhibitions include: “~” (Solo exhibition, Youkobo Art Space, Tokyo, 2018), “Pangea on the Screen” (Group exhibition, TAV Gallery, Tokyo, 2020). website Moderator: Murderous Ink Murderous …

Most of the Ghibli fans in Asia come to know its works through small screens, like TV sets, PC screens, or maybe smartphones. Now, Ghibli animations – from 30 or 40 years ago – are hitting theaters in China for the first time. The year was 1984. The Japanese movie market was dominated by animations for small kids, and ‘aidoru’ flicks for teenagers, plus the biannual ‘Tora-san’ movies. The blockbuster of the year was “Legend of the Seven Samurai (里見八犬伝, 1984)” grossing 2.3 billion yen. The movie was produced by Kadokawa, cashing in on popularity of Hiroko Yakushimaru, the most …