ryan.cook at ryan.cook at
Fri Apr 30 11:38:19 EDT 2010

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 
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.


Quoting Mathieu Capel <mathieucapel at>:

> dear Markus,
> Talking about Yoshida, the finale of Jôen/The affair shows a beautiful 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 summer 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>
>> <thomas.lamarre at> 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

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