2024年 10月 08日
Film noise and grain are beautiful 04
In Kinji Fukasaku's "Battles Without Honor and Humanity" series, Fukasaku inserted 16mm film in various places.
As in Tomu Uchida's "Hungry Straits," the film was blown up from 16mm to 35mm, about four times its original size.
16mm footage has rough grain and large scratches. It skillfully conveys the psychological conflicts of young people that Fukasaku claims, their violently fluctuating mental states, and the city that is like human sweat, humidity, and dust, and shakes the audience with its incredible power and tension.
The rough and violent texture well expresses the sense of impermanence expressed in the narration in the film, which is spoken against the backdrop of the Atomic Bomb Dome: "When war breaks out, the first things to be lost are the lives of young people."
The 35mm sections of this film were shot using as little lighting as possible, and various techniques were used during the developing stage, such as increasing the contrast, roughening the grain, and adding an overall yellow tone.
However, when this film was released on Blu-ray, it was excessively digitally remastered at the discretion of the company, and the screen was unified into a uniform, glossy, clear image.
One of the reasons for this is the revision of copyright law in 1971, which took copyright away from directors and cameramen and gave it to corporations to monopolise.
As in Tomu Uchida's "Hungry Straits," the film was blown up from 16mm to 35mm, about four times its original size.
16mm footage has rough grain and large scratches. It skillfully conveys the psychological conflicts of young people that Fukasaku claims, their violently fluctuating mental states, and the city that is like human sweat, humidity, and dust, and shakes the audience with its incredible power and tension.
The rough and violent texture well expresses the sense of impermanence expressed in the narration in the film, which is spoken against the backdrop of the Atomic Bomb Dome: "When war breaks out, the first things to be lost are the lives of young people."
The 35mm sections of this film were shot using as little lighting as possible, and various techniques were used during the developing stage, such as increasing the contrast, roughening the grain, and adding an overall yellow tone.
However, when this film was released on Blu-ray, it was excessively digitally remastered at the discretion of the company, and the screen was unified into a uniform, glossy, clear image.
One of the reasons for this is the revision of copyright law in 1971, which took copyright away from directors and cameramen and gave it to corporations to monopolise.
The large marks made by the splicer editing are vividly layered on top of the young people who are hurt one after another, creating a layered effect.
Director Fukasaku testified that a 16mm was used.
An assistant director testified that a 35mm camera called "Eyemo," the smallest size, was also used at the same time.
An assistant director testified that a 35mm camera called "Eyemo," the smallest size, was also used at the same time.
"Kyodai-jingi Gyakuen no Sakazuki" (1968/Director: Norifumi Suzuki, Cinematography: Sadatsugu Yoshida)
Sadatsugu Yoshida, the cinematographer for "Battles Without Honor and Humanity," also colored the screen yellow on his other films.
Making the screen slightly yellow was a popular technique at Toei at the time.
Francis Ford Coppola's "The Godfather" and "Apocalypse Now" also had the screen tinted yellow.
However, in Toei's case, the yellow correction was done at the developing stage, not at the shooting stage.
Making the screen slightly yellow was a popular technique at Toei at the time.
Francis Ford Coppola's "The Godfather" and "Apocalypse Now" also had the screen tinted yellow.
However, in Toei's case, the yellow correction was done at the developing stage, not at the shooting stage.
All photo credits: Toei
by kiyubaru2020
| 2024-10-08 16:00
| フィルム粒子 Film Grain
