Animation talk, music and analysis: Understanding The Spectales of 'Extraordinary' | Presented by a nerd in-training
A teen Chinese-Australian who finds passion in smart and inspiring storytelling. An artistic and creative hopeful.
Talent: Able to rant nonstop about whatever I put my soul into, and there's always more to add to my list of things I'm interested in.
Also a new(ish) anime fan: you can call me an otaku-in-training.
Piano Master title pending...
How do I even classify this film? It’s a period drama, romantic comedy, kinda political thriller and even a pinch of musical. This all-in genre meshing works very much both in favour and to the detriment of Samurai Shifters.
Continuing on with the format I established with the SFF earlier this year, I will be sharing some thoughts I had watching a new roster of Japanese cinema, in the midst of a unusually busy season of films for me (last I checked, I had 11 movie tickets already lined up for November and December).
Regular readers many already be familiar with how my lineups usually look, and while I am always looking for opportunities to inch beyond my tendencies and preferred genres, I believe that this comfort zone of mine is at least diverse enough for surprises, while also satisfying my own tailored love for cinema.
The [enveloping sounds/noise] of the keyboard and the creaking sounds of the guitar – that’s what surprised me the most in the first episode of this show. Of course, the animation by Studio Bones was also fantastic, but what hooked me were the boisterously dancing sounds that floated out of those visuals into my living room from beginning to end. Had I ever heard such lively and tangible notes coming from a TV anime before? Then came the second episode, where the BGM created by Mocky was simply overflowing with a sense of adventure. Make no mistake about it. This is Shinichiro Watanabe, no holds barred.
As September 2018 draws to a close, the TV anime Shojo Kageki Revue Starlight has, for the moment, come to an end. Now that everything has come to light, we are able to deliver the second half of the roundtable discussion between the music producers, Teppei Nojima (Pony Canyon) and Kohei Yamada (UPDREAM), and the lyricist, Kanata Nakamura. In it we look back on the revue songs that have accompanied the dramatic developments of the second half of the series, and ask about their overall thoughts as they strove to produce a ‘musical x anime mixed media’ project – something that has never been done before.
Shojo Kageki Revue Starlight: the franchise that has taken its ‘musical x anime mixed media’ concept and turned it into a myriad of different projects. The TV anime, which has been one of the franchise’s main pillars, will soon be coming to an end. What are the secrets behind the revue songs that have appeared in nearly every episode, leaving a strong impression on the viewers in their wake? LisAni will attempt to answer this question by diving into a roundtable with the show’s staff. In part 1 of this talk between three of the music production team – the music producers, Teppei Nojima (Pony Canyon) and Kohei Yamada (APDREAM), and the lyricist, Kanata Nakamura – we will be looking back on the songs that featured in the first half of the series.
As I look for ways to keep my writing brain well-oiled, I will be trying out a more ‘modular’ approach to blog posts: rather than dedicating each post to a singular theme that I hammer out mostly in one sitting, I’m taking a few pages from my old seasonal anime list posts, and compile short capsule reviews that I write throughout the week(s). In this instance, I have given myself a pretty decent schedule for the upcoming fortnight of movies that are screening at the annual Sydney Film Festival, and will be reflecting on each title I watch, before publishing it at its conclusion.
Philosopher Alain de Botton stated at the 2013 CDI (or the City of Ideas International Festival), that “the media is the teacher…once you’ve left school and university, or in other words for most of your life, you will not be educated in a classroom, but by the media.” The accompanying and profound implications of citing media as the ultimate signifier and shaper of society and identity has led me to diagnose the contemporary main driving model of media consumption – namely the on-demand binge culture subtitled the ‘Netflix Effect’ – and how this…new experiential frame of consumption in turn re-frames urban culture. The methodological significance of studying the currently dominant formats of mass consumption and popular media, in conjunction with its influence on cultural identity, is what I would argue a post-human integration of technically separate but intrinsically co-existing schools of cinema studies and cultural sociology: namely the cinematic city’s integration with the urban experience and Charles Taylor’s concept of the ‘social imaginary’.
Little did Yukito Kishiro know back in 1993, that the dream of seeing his manga on the silver screen would not only come true, but would take almost two decades to fulfil since the production was officially announced back in 2003.
No, I am not announcing my intentions to quit or take a break from blogging. In fact my drafts is still stuffed to the brim with stuff I’m working on, and I’ve got a couple of interview translations in the release pipe as well. This is just a little sit-down chat/therapy session for me, as I near the end of the first leg of my final year in university (whether I continue into postgrad/masters will be up to future me to decide). Also I feel like I owe at least a little to my readers, for having not putting anything out for more than a month.
The following is an official translation of an interview conducted with composer Tsuneyoshi Saito regarding his work on the mecha anime franchise Fafner in the Azure. It was published in the liner notes of the now out-of-print soundtrack album ‘NO WHERE’, released by Geneon for the North American market.
The music composed and produced for Fafner in the Azure presents an unique viewpoint on the international traffics of anime production: Saito opted to record the soundtrack for the anime series abroad with the renowned Polish orchestra, the Warsaw Philharmonic, for what he refers to be a willfully classical compositional process, and thus providing Fafner in the Azure with a sonic experience that references the symphonic scope of a Star Wars score.
(Note: the interview also featured producer Go Nakanishi from King Records.)