<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;">ZHANG Yibai's Yoru no shanhai (Longest Night in Shanghai) has a scene in which the hero (a Japanese man) and heroine (a young Chinese woman driving the lost hero about the city) realize they can communicate through writing.<br><br>MEK<br><br>--- On <b>Sat, 5/1/10, Jasper Sharp <i><jasper_sharp@hotmail.com></i></b> wrote:<br><blockquote style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"><br>From: Jasper Sharp <jasper_sharp@hotmail.com><br>Subject: RE: Calligraphy<br>To: "kinejapan" <kinejapan@lists.acs.ohio-state.edu><br>Date: Saturday, May 1, 2010, 9:39 AM<br><br><div id="yiv314492853">
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In Kaizo Hayashi's The Breath (1997), set in Taiwan, the detective character played by Juro Kara communicates with the locals almost entirely through writing Chinese characters, their common visual language. I may be wrong, but I think Mitsuo Yanagimachi's About, Tokyo (1992) features a similar scene.<br><br>Jasper<br><br>Midnight Eye: The Latest and Best in Japanese Cinema<br>www.midnighteye.com<br><br>More details about me on http://jaspersharp.com/<br><br><br><br><br>> Date: Sat, 1 May 2010 05:31:32 +0200<br>> From: Alex.Zahlten@gmx.de<br>> To: KineJapan@lists.acs.ohio-state.edu<br>> Subject: RE: Calligraphy<br>> <br>> Dear all,<br>> <br>> thank you for this great collection of suggestions- it does seem that the connection of writing and moving images is intriguing to a lot of people. I think we can all look forward to Markus' paper at Kinema Club!<br>> <br>> alex<br>> -- <br>> alex@nipponconnection.de<br>>
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