Ghibli in the Cinemas: Totoro Premiere & The Story of the Hoarder

I’m actually not sure how I should tell this story for you. Is this just a collection of conventional thoughts on films, or am I supposed to frame this more as another one of my Tale Time entries? (Haven’t done one those in a while huh…)

Going to the cinema and watching a film works in conjunction when it comes to me recalling experiences for a blog post. Experiences never exist in voids, they meld and influence each other. Perhaps this is why I find it so difficult to write straight up film or TV series reviews, whether I watched it alone at home, or with a group of people. It wouldn’t be a stretch to say that half the fun of watching a Summer blockbuster copy-and-paste explosion fest is the environment of a filled-out cinema, with some 400 people reacting to the same things you are.

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Artistry of Translation | Accenting Localisations (& A ‘Loveless’ Language?)

To properly articulate translation, is to essentially define it as a genre of artistry.

‘Artistry’ implies subjectivity. It confirms uncertainty, the lack of objectivity and exact science in translation as a craft and process. But translation as a craft also evokes a desire to understand; to render the unfamiliar so it may become familiar, if one were to paraphrase Hayden White (1978). This relationship of translation certainly reads like a process of linkage; a transportation railway that delivers meaning from one isolated frame of context (could be as vast as a country, or as mundane as an imperial/metric system transfer) to another. However, as I will be discussing here, such a reading on the art of translation would utterly erase the accents of such processes which give the newly translated entity its unique existence. Nothing exists as merely a ‘substitute’ for another.

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agraph (Kensuke Ushio) Interview | ‘the shader’ & Electronic Melancholy

Kensuke Ushio is on the verge of becoming a household name in the western anime fandom, thanks to his exhilarating and sensitive contributions to numerous modern anime classics’ original soundtracks, namely Space Dandy (as part of LAMA), Ping Pong, A Silent Voice and the recently released Devilman: Crybaby.

However, Ushio already had a decade-old alter ego of sorts in his stage name agraph, which he adorns when producing and releasing his own solo albums, exploring the pure, unadulterated creative impulse within him. ‘the shader‘ is his third solo electronica album release.

The following is a translation of the interview conducted with the artist by Natalie Music.

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Funomenal Rear-view Contemplation: Best of Film & Game Music 2017

You know…I went into starting this post with snippets of ideas for the intro: something snappy, a humorously depressing comment on 2017, and end it with a cheesy flavour of hope. But instead…I ended up with this.

I think I’ve sampled more albums than I ever did in 2017: more varieties of artists both old favourites and new discoveries, an increasingly diverse set of classical repertoires, genres and origins. That comes with good news and bad news, and I think the good news is kinda obvious already. But the bad news: I’ve listened to less albums COMPLETELY than the past two years, since there’s always something I want to jump onto prematurely.

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Violet Evergarden’s Opening Act | Mechanical Rigidity vs. Fluid Temporality

I want to start by talking about a single shot in Violet Evergarden’s debuting episode.

Violet’s reflection in the clock implies two things: her current state of mind, as well as certain potential, if one takes into account Violet’s first real display of agency in this scene.

A clock as a tool for telling time is mechanical and rigid by nature, its function defined by a single need. Violet was a child soldier who has known nothing but to take orders and acting on them: her function defines her, encroaching her behind a transparent cage.

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Princess Principal Composers Interview | Ryo Takahashi (Void_Chords), Yuki Kajiura

Princess Principal was an action-adventure highlight of Summer 2017, and a big part of this resonance with the fandom was undoubtedly the high-octane musical identities afforded to the production by its arranger/composer duo of rising star Ryo Takahashi (ACCA: 13-ku Kansatsu-ka, Classroom of the Elite), and prolific veteran Yuki Kajiura (Kara no Kyoukai, Fate/Zero, Sword Art Online, ERASED).

The following is a translation of the interview conducted with the two composers by Natalie Music.

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ATMA & Funomena is now on Patreon!

Greetings, fellow readers.

Just a quick note, in regards to this new development. 2017 was a relatively spotty year for this blog: while my upload frequency has somewhat dropped, the quality and diversity of coverage I was able to afford has expanded. I’ve published and co-commissioned interviews and transcripts, extended essays, in addition to my usual collection of thought pieces, summaries and capsule reviews.

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Sound Design of Woman Called Fujiko Mine with Sayo Yamamoto (Director) and Naruyoshi Kikuchi (Music Producer)

A short greetings, readers! This is not a blog post written by yours truly, unfortunately, but I did sorta have a hand in making this interview translation happen, and it deals with a subject that I’m evidently passionate about, as well as being shamefully underappreciated by fans (AND a fair share of creators/producers if I dare say so) of film & animation.

In addition to co-funding the translation by the ever so reliable karice, I was happy to lend my help on a few technical translations of musical terms.

Wave Motion Cannon

Karice avatarThis interview was posted on the website Tower on December 19, 2012. Originally published in intoxicate vol.101 (December 10, 2012). The interview has been translated by Twitter user @karice67 and cofunded by @NaChiKyoTsuki97 © 2017 Wave Motion Cannon


You can support the translators who you see on WMC by pledging on Patreon!

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Lupin III: The Woman Called Fujiko Mine has attracted lots of attention as the first Lupin III TV series in 27 years. The individual responsible for its soundtrack is Naruyoshi Kikuchi. Though this is a spinoff with Fujiko Mine as the heroine and protagonist, it is precisely because the maestros Takeo Yamashita and Yuji Ohno gave birth to “Lupin Jazz” that we are now keen to find out about the new blood that Kikuchi, the maverick of the Jazz world, has poured into the mix. And on the other hand, we have series director Sayo Yamamoto. Tag-teaming with…

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