Calligraphy

[Mark Nornes]

All the late Kurosawa films were apparently by the same calligrapher.

M

(Sent from my iPod, so please excuse the brevity and mistakes.)

On May 1, 2010, at 3:49 AM, "Yuna de Lannoy" <yuna_tasaka at hotmail.com>  
wrote:

> I would like to mention two more examples of calligraphy in Japanese  
> films, even though calligraphy doesn't play a central role in these  
> films.
> My first example is In the Realm of the Senses/ Ai no corrida where  
> at the end of the film the woman writes on the body of the partner  
> with his blood. My second example are the early films of Kurosawa  
> whose titles and credits were always written by professional  
> calligraphers.
>
> Yuna
>
> Date: Fri, 30 Apr 2010 12:34:15 -0400
> From: wgardne1 at swarthmore.edu
> To: KineJapan at lists.acs.ohio-state.edu
> Subject: Re: Calligraphy
>
> Speaking of the "calligraphic style" of Chambara, I'm familiar with  
> this term from Bordwell's Ozu and the Poetics of Cinema and related  
> articles-- and, despite my great admiration for Bordwell's work,  
> I've always a bit skeptical about this term as a stylistic label for  
> a certain type of prewar cinema. Still, I've never been sure if it  
> was Bordwell's invention, or if it came from somewhere else. Does  
> anyone know more about this term and whether it originates outside  
> of, or has travelled beyond, Bordwell's work?
> --Will
>
> ----- Original Message -----
> From: "ryan cook" <ryan.cook at yale.edu>
> To: KineJapan at lists.acs.ohio-state.edu
> Sent: Friday, April 30, 2010 11:38:19 AM GMT -05:00 US/Canada Eastern
> Subject: Re: Calligraphy
>
>
> Scott Nygren takes up cinematic calligraphy in a figurative sense,  
> drawing on
> Derrida and Karatani, in his book Time Frames: Japanese Cinema and the
> Unfolding of History.  This is a much more theoretical treatment less
> concerned
> with literal instances of calligraphy in film than with the idea of a
> "decentered" cinematic ecriture, as Mathieu mentions.  Of course  
> there is also
> the talk of the calligraphic style of chambara, for example, where  
> camera
> movement itself is likened to bold strokes of the brush.
>
> -Ryan
>
>
>
> Quoting Mathieu Capel <mathieucapel at gmail.com>:
>
> > dear Markus,
> >
> > Talking about Yoshida, the finale of Jôen/The affair shows a beaut 
> iful piece
> > of calligraphy, written by Okada's character (well, I assume it's  
> not really
> > her, for we only see hands at that time) on the shôji of her summe 
> r house -
> > and I think it has a strong meaning regarding the plot and the  
> rest of the
> > film. I mean, here calligraphy - or let's say the act of writing -  
> seems to
> > be related to the death of her love affair, and the end of her  
> dreams of
> > freedom... I wonder if one could not link that to Derrida and  
> Karatani when
> > they talk about "Ecriture", etc. (?)
> >
> > Best,
> >
> > Mathieu Capel
> > 2010/4/30 Mark Nornes <amnornes at umich.edu>
> >
> >>
> >> <thomas.lamarre at mcgill.ca> wrote:
> >>
> >> it's not actually calligraphy but talismanic writing plays a  
> central role:
> >>> Onmyôji.
> >>>
> >>
> >> Why isn't it calligraphy?
> >>
> >> M
> >
> >
> >
> >
> > --
> > Mathieu Capel
> > 67 rue de la Roquette
> > 75011 Paris
> > 06 50 32 45 00 / 01 43 79 19 19
> > mathieucapel at gmail.com
> >
>
>
>
> Get a new e-mail account with Hotmail - Free. Sign-up now.
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