Joel Vs.Film 1 What Is Joel Vs
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Joel vs.Film 1 What is Joel vs. Film? How to Watch a Film ’ve often been asked how I glean the infor- people that contribute to the creation of a film. the production from their perspective. How are mation I do from watching a film. In truth, Think of each individual part and try to think things placed, how are the actors moving and Iinterpreting a film isn’t all that difficult; it just about how that part is playing out on the screen speaking, how is every individual part of this requires a bit more effort than most people are in front of you. Think of those parts in relation film contributing to the film as a whole. By ask- willing to put into watching a film. Watching a to each other; how are they working together? ing these questions as you watch the film, you film is not a passive experience as some may One of the most important aspects of any can gain a sense of how a director thinks, and believe, on the contrary a good film demands film is its cinematography. It’s important to therefore insight into films themselves. oel vs. Film is a blog wherein I give my in- the viewers complete attention. I’m by no analyze every shot and ask why was this shot Obviously, this advice is only a starting put in the thematic context of various films means an expert, but I’d like to share my own that way? Think of the angles, the framing, the point, and there’s plenty more to consider when Jand how they relate to our lives. I cover ever- habits and experiences in how I watch films. juxtaposition, everything about the shot, and watching a film. Insight into the creation of a thying from movies, to short films, to television First, it is essential to remove all distrac- ask what is the cinematographer trying to say film is essential to interpreting meaning from series, as well as my thoughts on film as a medi- tions. Most of us have our cellphones on us at by shooting this scene in this way. Furthermore, film. When viewing the individual aspects of a um. Furthermore, I use it as a platform to show- all times; turn it off and put it away. Believe me, examine the colours; many films have a very film, it’s important to know that every aspect of case some of my own photography. you’ll survive two hours without it. Also make distinct colour palette that also conveys theme. a film has an intention; examine that intention What follows is just a taste of some of the sure that you won’t be bothered. Obviously, ur- Thinking of how things are shot implies a lot and consider it within the context of the over- content of Joel vs. Film. gent matters occasionally arise, but any distur- about what the film as a whole might be trying all film. I love watching films, as its probably bance can throw off the pacing of a film. to say. apparent, I hope that you, the reader, might try Second is to have a good setup. A decent The most important person in the produc- to see film in the way I do, and perhaps share a quality screen of adequate size on which to tion of any film is the director. They oversee little bit in my hobby. watch the film. High definition is preferable, the entire production of a film. As such consider but not essential. You should also get comfort- able, ideally with a good snack and your drink One of the photographs from the image gallery of Joel vs. Film of choice. Being comfortable is important as it allows you to focus solely on the film. Third, it’s important to do your research. Personally, I believe that the best way to go into Shin Gojira: Evolution any film is to do so blindly, knowing as little shirō Honda’s 1954 masterpiece, Gojira, re- the giant monster presents. Structuring itself as light, symbolic of the flash of a nuclear bomb as possible. That said, knowing the creator(s) Imains, to this day, one of the boldest political a political thriller works to the films benefit; as when it detonates. of any particular film goes a long way in help- statements put to film. It’s a pointed statement the various organizations prove ineffectual in In Shin Gojira the monster is the result of ing one interpret the film. It helps you to know against American interventionism as well as a responding to and combating the threat of the years of dumping nuclear waste into the ocean. what kind of person created the film, what else harrowing look at the horrors of nuclear weap- monster. The politicians who lead these orga- This reflects the fears held by many Japanese they’ve done, what themes and ideas do they ons. It disguises itself as a monster movie, but nizations are more concerned with the image people following the Fukushima Daiichi nucle- commonly explore, etc. it presents an incredibly poignant look at the their responses would present rather than the ar disaster of 2011. At points the monster silent- Think of every film as a series of moving attitudes of a post-war Japan. actions themselves. They become tied up in ly looms over Tokyo, a source of ever present parts. There’s the director, the screenwriters, Following the success of Gojira, Toho Films the bureaucratic process to such a degree that dread. Even when it’s not an active force of the actors, the various design teams, all the A photograph of my living room; where I do the majority of my film watching. began to make a multitude of kaiju films, but it prevents them from adequately being able to destruction, the creature is a constant and ever none of them had the same weight or ambition respond to the monster, their hesitance leading present danger. as the film that inspired them all. None of these to more and more destruction. The creation and themes of Shin Gojira, films tried to capture the essence of the Japa- Furthermore, there is always the presence represent an evolution from the 1954 origi- nese experience in the same way Gojira did. of the greater international community, specifi- nal. However, the idea of evolution is a central That was, of course, until the release of Shin cally the United States, that further complicates theme of Shin Gojira. Throughout the film, the Kanamewo: Meaning Gojira in 2016, 62 years after the original film. things. Anno’s previous works often focus on monster rapidly evolves through several dif- here's something almost voyeuristic about tation of humanity's relationship with nature. At cares about more than anything. There's a fond- Hideaki Anno’s, Shin Gojira is an enthrall- relationships, and Shin Gojira presents a rele- ferent forms. When the monster is seemingly watching a short film like Kanamewo. It's the beginning of the film, we see the destruc- ness for the happiness shared with another in- ing critique of Japanese governmental bureau- vant and modern look at Japan’s relationship defeated, it comes back, larger and far more Talmost as though you're watch the innermost tion of nature, an old shrine in the middle of a dividual and an all-consuming grief when that cracy, and a stark look at how Japan sees itself with the rest of the world. Japan is faced with powerful. It changes itself to suit its environ- emotions of its creator splayed out before you. big city being torn down. This can be taken to individual is gone. within the international community, specifical- the dichotomy of protecting itself and its inter- ment and to combat the threats that face it. In Despite having no dialogue Kanamewo is able represent how humanity has progressed beyond Kanamewo can also be interpreted as an al- ly in its relations with the United States. It takes ests while considering how its actions affect the response to this, the Japanese government is to convey so much, both emotionally and the- needing spiritual representation for nature. The legory for depression. If the tree spirit is taken the original idea of Gojira, that is a deeply po- world around them. Similarly, in modern Ja- also forced to evolve to combat the threat that matically. viewer sees the manifestation of nature, the tree as a metaphor for depression, we see the jour- litical film masquerading as a monster film, and pan, there’s growing questions of Japan’s place Godzilla represents. The various self-concerned Kanamewo is a 2015 animated short film by spirit, sickly and laying in the rain. The woman ney of the woman as she works through it. She evolves that idea to suit a new time with a new in the international community, as it questions bureaucratic organizations are only able to take the independent Japanese animator Rapparu. It can be viewed as both an individual and as a accepts it as part of her life, and it slowly be- audience and new sensibilities. its own autonomy following the dependance on the creature when they unite, combine their follows a young woman who finds a sickly tree representation for humanity as a whole. As an comes a greater and greater part of her life. This Anno presented an interesting choice as a placed upon it following the second world-war. efforts and attack the beast head on, not through spirit. She takes the spirit into her care, nurtur- individual, she saw the dying spirit and took it continues until it hits a point of dependence.