quote of the week

“His starting point was the idea that at one time men, when trying to emulate the gods in their manner of speech, had used a type of sacred language transcending the vernacular, and that was poetry. Just as the gods made their proclamations in poetry, so men petitioned the gods in poetic forms, too, and it was a vestige of such ritual that one saw in the poetic act today. When a poet wrote a poem he became a kind of god; even that man in the dark suit just now had fulfilled the same role, unknowingly of course, when he left behind that letter in the form of a poem. It may have been prose in origin, but an unconscious desire to be poetic had surely shaped its appearance. Poems are for people who seek to be gods; prose is for ordinary people. The one is ancient; the other modern.”
(Maruya Saiichi, A Mature Woman (1993))

“the torch” #20 – Modes of representation Pt.2 - symbolism versus realism

Sinema’s fortnightly column “The Torch“ in this week’s edition continues its investigation into “modes of representation” in film (you can read up on pt.1 here). To clearly define the level of formality in your movie’s fictionalization effort is vital to reaching an audience head or heart; so understanding what degree of abstraction will deliver best on a given theme or issue is essential. How does it work, then, the symbolist and the realist mode respectively? On having a visual rendition top-down or bottom-up, what is there to know in order to make an informed choice in the matter? It is being explored and exemplified: here.

(pic©mo)

blogbirthday

Whoa it's been a year, a whole year already – and I'm permanently stunned now, though I couldn't tell for what exactly. My endurance, my flimsiness in keeping this up? Anyway, I thank all of you extensively with these humble words of thanks and appreciation for your interest, continued or sporadic, it doesn't matter! All I care for in maintaining this blog is furthering the free-thinking, boundary-defying endeavor which is “ymagon”. While a definition has been given, projects are still to be wished for and in the making. What eventually will become of it remains to be seen but the effort is ongoing. Either way, contributions are always welcome since it is all about being open and inclusive where building an Asia-Europe exchange in the arts is concerned. For now the focus is set to be exemplary and specific: a Singapore-Berlin connexion is already forming. So do join and stay tuned!
And just as proto-ymagon.blogspot.com is celebrating its first anniversary, I'd like to wish the great master, American novelist Don DeLillo, all the best! whose birthday it is today; what a coincidence...

(pic©www.idog-segatoys.com)

quote of the week

“You can't measure love by weight.”
(Fong juk/Exiled, Johnny To (2006))

quote of the week

“Es gibt kein richtiges Leben im falschen.” / “Wrong life cannot be lived rightly.”
(Th. W. Adorno, Minima Moralia (1951))

“the torch” #19 – Modes of representation Pt.1 - minimalism versus exuberance

There is drama, comedy and science fiction, there are period extravaganza and musicals, documentaries as well as the nerve-wracking thriller or horror movie to keep us entertained throughout the year. We see good films and bad films, and while these may not be genuine categories as such, we certainly know how to tell art-house from blockbuster, a serious tale from commercial crap – and these are genres, according to some. Whatever you like best, speaking about film and getting a clear view of the vast variety of different material out there all jointly making for our cinema, well, there is a need for clarification, don’t you think? “The Torch” in its latest tries to do just that, to coin meaningful, operable terms for addressing cinematic styles, as opposed to keeping with that well established bad habit of labelling. Catch “Modes of representation”, the first part: here.

(pic©mo)

quote of the week

“You notice things if you pay attention.”
(Fa yeung nin wa/In the Mood for Love, Wong Kar-Wai (2000))

HU-Japanologie: Screenings in November

The Japan Film-AG in resuming their weekly screenings this month brings you a bunch of the best and the latest in Japanese cinema, including the immense and true modern classic “Dare mo shiranai”/”Nobody Knows” by director whizz Koreeda Hirokazu, one of my favorites. If you haven't seen it yet, this is your chance!
Do check out the entire program: here.

(pic©hu-berlin.de)