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. As director for this film, though when considering The film reflects these concerns, and brings brute force, but through understanding. So to, ing it back to health, and eventually falling in in, caring for it and trying to "fix" it. Howev- the depression fades away, the woman is forced the final product, it’s difficult to think of any- the question of how Japan should conduct it- the film posits, that Japanese government, love with it. However, the spirit begins to fall ill er, as a representation for humanity, she took to bury it and move on, the tree at the end of the one else that could have resurrected the original self within the international community to the and perhaps society, should evolve to face the again, and soon after passes away. The woman the spirit and tried to shape it to suit her own film representing a hopeful and optimistic view idea of Gojira. Hideaki Anno is one of Japan’s forefront. threats that loom over it. The last shot of the takes the spirit and buries it near a lake. One needs, exposing it to vice. By trying to make it of the future. This is also something that can be most acclaimed animation directors, most nota- The monster of Godzilla also reflects a film focuses on the tail of a defeated Godzilla, day, she returns to find that a tree has grown in into something that it's not, the spirit is drained seen in the colour palette of the film. At the start ble for his creation of the Neon Genesis Evan- uniquely Japanese experience. In the original as it morphs into a collective of humanoid fig- that spot. and weakened, eventually bringing about its de- the film is drab and colourless, but at the end gelion franchise. Prior to the release of Shin 1954 film, the monster represented the horrors ures, suggesting that the threat will never truly Because of it's vague presentation, Kaname- mise. This is something that's also represented the film is bright and full of colour representing Gojira, Anno had little experience with live of nuclear weapons, something post-war Japan disappear; they too will evolve, and thus so too wo leaves itself open to many interpretations. in the colour palette of the film, the city shouts the journey through depression. action features. However, when viewed in the was all to familiar with. Godzilla rages through should society continue to evolve. The short is presented with no dialogue or no being bleak, drab, and muted while nature shots Ultimately, Kanamewo can be interpreted context of his previous work, specifically with Tokyo as a seemingly unstoppable force of Shin Gojira represents how to adapt the ambient sounds. The only sound comes from are bright, vibrant and colourful. as moving on from something. It is a medita- the Evangelion franchise, Anno seems a good destruction. Even the design of the creature spirit and sensibilities of a classic film for a the backing music, the song Lust for Summer That's not to imply that this relationship is tion on love and loss and, eventually, accep- candidate to capture the spirit of Gojira. reflects these fears. Despite being reptilian in new audience and a new era. It takes the core Blues by indie post-rock band Adustam. De- parasitic. The film clearly depicts it as a mutual tance. Regardless of what that thing might be, Despite being a monster movie, the actual design, Godzilla doesn’t have scales, it’s skin is concept of the original film, and applies it to spite this simplicity, there's a palpable emo- affection. There's a visceral grief that the view- Kanamewo, presents a deeply emotional look creature takes up surprisingly little screen-time. designed to evoke the image of radiation burns, the modern era. Furthermore, it takes this idea tional depth that one can feel while watching er shares with the woman at the end of the film. at what it means to deal with the pain of losing The majority of the film is focussed instead something many of the survivors of the Hiro- of evolution, and uses it as a core concept. Shin Kanamewo. It's a film that says a lot while not Perhaps then, Kanamewo can be interpreted as something that one loves and eventually ac- upon the various governmental organizations of shima and Nagasaki bombings bear. It doesn’t Gojira represents the evolution of a classic film actually saying anything in a literal sense. a meditation on loss. It works as a representa- cepting that pain and moving beyond it, looking Japan, and how they respond to the threat that breath fire, but rather beams of bright atomic into the modern age. One interpretation is an allegorical represen- tion of how it feels to lose something that one towards the hope of a brighter future. 2 3 Borrowed Time: Grief and Regret egret is a powerful force that can over- Borrowed Time emphasizes these ideas of garding these ideas. As the sheriff steps ever shadow all other aspects of one’s life. The grief and regret through its cinematography. As closer to the cliff, we see the memories come Revents of one’s past shapes their life, and com- the film.switches between its two time periods flooding back. As he stands at the cliff looking ing to terms with life’s hardest moments can be it also switches between two colour palettes. down, the audience feels his grief and his pain. a long and painful challenge. Oftentimes the The past is bright, sunny, and vibrant; contrast- However, as the light appears and the reflection most difficult person to forgive is oneself; we ed with the present with is darker, greyer, and of his father’s watch catches his eye, a different are after all, our own worst critics. more muted. This colour shift reflects the sher- sort of memory is presented; that of the love Andrew Coats’ and Lou Hamou-Lhadj’s iff's own shift in demeanor; the bright idealism shared between a boy and his father. Despite 2015 animated short film, Borrowed Time, is of youth juxtaposed with the depressed tone of the painful events that occurred in that place a deeply personal examination of these ideas of his life after the tragedy occurred at the cliff. that undoubtedly shaped his life the sheriff is grief, guilt, and regret. It tells the story of an Furthermore; these ideas are emphasized in reminded of something more powerful than re- aged sheriff attempting to come to terms with the framing throughout the short film. Many of gret, love. the most difficult event in his life. the present-day segments has the camera pulled Borrowed Time tells the audience that our An aged sheriff stands near a darkened cliff, in very close on the sheriff’s face. This intimate fondest memories are more powerful than our his gaze fixed forward; the audience knows that angle helps to convey every minute expression; darkest ones. While our most painful moments this is a place filled with painful memories for we feel his grief, his pain, and his regret simply undoubtedly colour and shape our lives so too him. With a deep breath he begins to step to- by looking at his face. Similarly; the shots in do the memories we share with loved ones. As wards the cliff, and the camera cuts to a mo- the past are also viewed within a tight perspec- the sheriff gazes out to the horizon, we know ment from the past. As the sheriff steps towards tive. We view things from the perspective of a that not everything has been made right, we his reckoning, the audience learns that, in this boy who looks up to and admires his father, and know that surely, he still feels the pain of the Photograph of a train zooming by a fence with graffiti near Kensington spot years ago, the sheriff accidentally killed this idea is also brilliantly portrayed through accident years ago. However, as the camera his father in a tragic accident. Overwhelmed the facial expressions of the central character. pans out and the audience too gazes upon the with grief the sheriff gazes over the side of the Despite tackling incredibly heavy themes, horizon, a light of hope shines out among the cliff. Borrowed Time does take a hopeful view re- grim darkness. Image Gallery ere are a selection of photos from the image gallery of Joel vs. Film. All photographs Hwere taken by me in the city of Calgary

Photograph of graffiti on an art instalation in Kensington

Photograph of a man throwing a baseball in a field at the SouthernAlberta Institute of Technology Macro photograph of someone wearing a Rememberance Day poppy

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