2024年 12月 07日
Things like lost films and internet censorship.
"MIDORI" was once confiscated and destroyed by Narita Airport customs.(in 1999)
In fact, the film was lost in a transportation accident even before that.
When a local screening organization sent out the MIDORI film, they wrote the wrong address (Kiryukan's old address) and the correct phone number on the shipping request form. The shipping company delivered it to Kiryukan's old address, and the person living there ended up disposing of the MIDORI film that they had mistakenly received as trash.
The matter was settled with the transport company in 1994.
It was fortunate that there was a negative film, but if it was a work with only one film, the problem of loss would be serious.
In fact, the film was lost in a transportation accident even before that.
When a local screening organization sent out the MIDORI film, they wrote the wrong address (Kiryukan's old address) and the correct phone number on the shipping request form. The shipping company delivered it to Kiryukan's old address, and the person living there ended up disposing of the MIDORI film that they had mistakenly received as trash.
The matter was settled with the transport company in 1994.
It was fortunate that there was a negative film, but if it was a work with only one film, the problem of loss would be serious.
The disappointment of a creator is great when a work that has taken years or decades to create is lost or destroyed.
In 2020, Harada's senior in the commercial animation industry asked him to lend him the disc of "Horizon Blue" because he wanted to screen it at his workplace, so Harada lent the disc to him.
However, at the time, Harada's chronic illness (a rare and intractable disease) was worsening, so Harada was unable to attend the screening.
However, Harada's senior, thinking it was a favor for Harada, lent the disc to a reporter from one of the three major newspapers.
One of the journalists from the Kyoto Shimbun returned it with a proper comment, but the major newspaper that lent it to did not return it, and it was lost.
Originally, Harada had not intended to release it to the Japanese mass media.
Even though it has changed from film to a thin disc, people still treat the work too lightly.
In recent years, film festival curators in Japan and abroad have simply requested Harada to upload his work to YouTube.
However, Harada defines that viewing his work on the Internet does not mean that you have truly seen it.
Blu-ray companies in various countries have also requested that Harada release his work on disc, but they all keep repeating the same thing: "4K" and "high quality." They seem to think that it is okay for the author to further modify the work he created.
Harada has declined all of these offers.
In addition, the law has changed in Japan in recent years, and the system has changed so that if you earn even a little more, you have to pay for Harada's large medical expenses for his incurable disease.
What Harada wants most now is not money, and he does not want companies to commercialize his work.
As Harada publishes his production diary every day, what he needs most is free time, and his biggest wish is to continue creating new works.
However, there are probably many people living overseas who want to see Harada's work.
There are capacity limits on sites that allow video posting other than YouTube.
In July 2021, Kiyubaru's YouTube account was unfairly suspended and we were prohibited from creating a new account.
We protested to YouTube many times, but we only received the same email in return.
In March 2022, images and videos of MIDORI posted on Twitter were deleted. Twitter sent us an unclear reply saying, "We are tolerant of expression."
In September 2024, an announcement post for "Zahikiro" was unfairly deleted on Facebook.
We have protested to Facebook many times, but we have still not received any reply.
In 2023, after deleting the video for "MIDORI," which contains no nudity or violence, "F2 Video" warned us, "The next time you upload a video for 'Shoujo Tsubaki' or post the word 'Shoujo Tsubaki,' we will freeze your account." "Shoujo Tsubaki" had already been programmed as a banned word.
In fact, when we posted a trailer for "Horizon Blue" in 2019, Vimeo also contacted us asking, "Is this video really your official one?" Vimeo did not delete it, but first sent us a confirmation email.
We explained the situation to Vimeo. Vimeo then told us, "We understand."
Vimeo's response was very good. However, there is a capacity limit for free use.
What should we do in this situation?
It is at times like these that we should remember dialectics.
Just as Eisenstein once sought a new framework for film, we would like to seek ways to disseminate new works that have never existed before.
This may be similar to the idea of "passing on works from friend to friend," as Doji Morita once said, rather than being centered on companies, the economy, or money.
However, at the time, Harada's chronic illness (a rare and intractable disease) was worsening, so Harada was unable to attend the screening.
However, Harada's senior, thinking it was a favor for Harada, lent the disc to a reporter from one of the three major newspapers.
One of the journalists from the Kyoto Shimbun returned it with a proper comment, but the major newspaper that lent it to did not return it, and it was lost.
Originally, Harada had not intended to release it to the Japanese mass media.
Even though it has changed from film to a thin disc, people still treat the work too lightly.
In recent years, film festival curators in Japan and abroad have simply requested Harada to upload his work to YouTube.
However, Harada defines that viewing his work on the Internet does not mean that you have truly seen it.
Blu-ray companies in various countries have also requested that Harada release his work on disc, but they all keep repeating the same thing: "4K" and "high quality." They seem to think that it is okay for the author to further modify the work he created.
Harada has declined all of these offers.
In addition, the law has changed in Japan in recent years, and the system has changed so that if you earn even a little more, you have to pay for Harada's large medical expenses for his incurable disease.
What Harada wants most now is not money, and he does not want companies to commercialize his work.
As Harada publishes his production diary every day, what he needs most is free time, and his biggest wish is to continue creating new works.
However, there are probably many people living overseas who want to see Harada's work.
There are capacity limits on sites that allow video posting other than YouTube.
In July 2021, Kiyubaru's YouTube account was unfairly suspended and we were prohibited from creating a new account.
We protested to YouTube many times, but we only received the same email in return.
In March 2022, images and videos of MIDORI posted on Twitter were deleted. Twitter sent us an unclear reply saying, "We are tolerant of expression."
In September 2024, an announcement post for "Zahikiro" was unfairly deleted on Facebook.
We have protested to Facebook many times, but we have still not received any reply.
In 2023, after deleting the video for "MIDORI," which contains no nudity or violence, "F2 Video" warned us, "The next time you upload a video for 'Shoujo Tsubaki' or post the word 'Shoujo Tsubaki,' we will freeze your account." "Shoujo Tsubaki" had already been programmed as a banned word.
In fact, when we posted a trailer for "Horizon Blue" in 2019, Vimeo also contacted us asking, "Is this video really your official one?" Vimeo did not delete it, but first sent us a confirmation email.
We explained the situation to Vimeo. Vimeo then told us, "We understand."
Vimeo's response was very good. However, there is a capacity limit for free use.
What should we do in this situation?
It is at times like these that we should remember dialectics.
Just as Eisenstein once sought a new framework for film, we would like to seek ways to disseminate new works that have never existed before.
This may be similar to the idea of "passing on works from friend to friend," as Doji Morita once said, rather than being centered on companies, the economy, or money.
#
by kiyubaru2020
| 2024-12-07 12:56
| お知らせ Notice
2024年 12月 06日
Humans and Animation 10 （2011）
Part 2: "The Dawn of Animation - Ancient Timelines"
Around 3500 B.C., symbols and pictographs, which are the origin of writing, were born. Following the patterns on textiles and pottery, humans once again practiced the intermittent motion of writing one character and then moving on (similar to the "tooth feed" of film). Humans also began to illustrate time and rhythm, and developed this.
Ancient timelines can be seen in Mediterranean writing (abstract pictographs and the later Linear B) around 2000 B.C.E. In order to communicate pictures and symbols to others in an easy-to-understand way, circular or horizontal timelines showing the flow of characters were devised.
The "Phaistos Disc," which is said to have been engraved around 1600 B.C.E., has a circular timeline that conforms to the specifications of the turntable engravings of the time. It is said to be the world's first historical document typed on a typewriter. (※1)
The circular circle showing the movement of the heavens, earth and universe, which was drawn around the year 1 A.D., is reminiscent of a modern clock face. It also looks like the rotation of a circular video playback device (phenakistiscope or praxinoscope), which was also an early animation. (※2)
The time axis that records the flow of a day horizontally has been passed down to picture scrolls, everyday characters, musical scores, films, etc., and is currently used as a timeline in computer video editing software.
Film framing, frames (trimming with lines) seen in modern manga, and cross-hatching (touching with solid lines) were already practiced in the BC era.
The reason why outline drawing + cross-hatching became more widespread than surface drawing + shading is probably because the pictographs and symbols of the time were in a format that could be reproduced with shells, sticks, stones, etc., so solid lines with contrast as a priority were more useful.
Since timelines and frames existed even back then, humans may have noticed the sudden phenomenon of moving the objects they were depicting by moving their eyes up, down, left and right while creating.
The act of drawing in ancient times was not primarily intended to make still pictures move, so it did not lead to the birth of animation devices. However, like the patterns on ancient textiles and pottery, humans must have thought about repeating rhythms and how still images appear to move through the act of making things.
There are coincidental similarities between the cycles and rhythms discovered in ancient times and the structure of modern images.
The base number "30" for the month in the ancient solar calendar is similar to the number of frames in modern video.
The number of fields in one second of interlacing (scanning) in video and digital images, "60," is reminiscent of the sexagesimal system used by the Sumerians and the number of cells in our bodies, 60 trillion.
The ancient lunar cycle of 29.53 reminds me of analog television (NTSC) and the corresponding image frame rate of 29.97.
Since the advent of talkies, the rhythm established for film is 24 frames per second, but our day is made up of 24 hours.
The human body clock has a 24-hour rhythm, the same as the rotation of the earth.
The 24-hour rhythm of clock genes is maintained by "light and shadow" just like images.
It has been discovered that bacteria also have 24-hour body clocks, and there is a hypothesis that the "24" rhythm began when the organic bodies that are the ancestors of life arrived on Earth. (※3)
I can't help but feel that humans have had a certain kind of visual "basic rhythm" since ancient times. The comfort of the flicker and noise of projectors and film is probably a rhythm that has continued since ancient times, that is, a rhythm based on the movement of celestial bodies and the movement of the universe.
(*1) The Phaistos Disc was discovered in southern Crete in 1908 and is currently housed in the Iclarion Archaeological Museum.
(*2) The animation devices are featured in the book "Archeology of Cinema" (1977/Film Art Publishing) by C. W. Ceram, and the film "Film before Film" (1985/directed by Werner Nekes).
Around 3500 B.C., symbols and pictographs, which are the origin of writing, were born. Following the patterns on textiles and pottery, humans once again practiced the intermittent motion of writing one character and then moving on (similar to the "tooth feed" of film). Humans also began to illustrate time and rhythm, and developed this.
Ancient timelines can be seen in Mediterranean writing (abstract pictographs and the later Linear B) around 2000 B.C.E. In order to communicate pictures and symbols to others in an easy-to-understand way, circular or horizontal timelines showing the flow of characters were devised.
The "Phaistos Disc," which is said to have been engraved around 1600 B.C.E., has a circular timeline that conforms to the specifications of the turntable engravings of the time. It is said to be the world's first historical document typed on a typewriter. (※1)
The circular circle showing the movement of the heavens, earth and universe, which was drawn around the year 1 A.D., is reminiscent of a modern clock face. It also looks like the rotation of a circular video playback device (phenakistiscope or praxinoscope), which was also an early animation. (※2)
The time axis that records the flow of a day horizontally has been passed down to picture scrolls, everyday characters, musical scores, films, etc., and is currently used as a timeline in computer video editing software.
Film framing, frames (trimming with lines) seen in modern manga, and cross-hatching (touching with solid lines) were already practiced in the BC era.
The reason why outline drawing + cross-hatching became more widespread than surface drawing + shading is probably because the pictographs and symbols of the time were in a format that could be reproduced with shells, sticks, stones, etc., so solid lines with contrast as a priority were more useful.
Since timelines and frames existed even back then, humans may have noticed the sudden phenomenon of moving the objects they were depicting by moving their eyes up, down, left and right while creating.
The act of drawing in ancient times was not primarily intended to make still pictures move, so it did not lead to the birth of animation devices. However, like the patterns on ancient textiles and pottery, humans must have thought about repeating rhythms and how still images appear to move through the act of making things.
There are coincidental similarities between the cycles and rhythms discovered in ancient times and the structure of modern images.
The base number "30" for the month in the ancient solar calendar is similar to the number of frames in modern video.
The number of fields in one second of interlacing (scanning) in video and digital images, "60," is reminiscent of the sexagesimal system used by the Sumerians and the number of cells in our bodies, 60 trillion.
The ancient lunar cycle of 29.53 reminds me of analog television (NTSC) and the corresponding image frame rate of 29.97.
Since the advent of talkies, the rhythm established for film is 24 frames per second, but our day is made up of 24 hours.
The human body clock has a 24-hour rhythm, the same as the rotation of the earth.
The 24-hour rhythm of clock genes is maintained by "light and shadow" just like images.
It has been discovered that bacteria also have 24-hour body clocks, and there is a hypothesis that the "24" rhythm began when the organic bodies that are the ancestors of life arrived on Earth. (※3)
I can't help but feel that humans have had a certain kind of visual "basic rhythm" since ancient times. The comfort of the flicker and noise of projectors and film is probably a rhythm that has continued since ancient times, that is, a rhythm based on the movement of celestial bodies and the movement of the universe.
(*1) The Phaistos Disc was discovered in southern Crete in 1908 and is currently housed in the Iclarion Archaeological Museum.
(*2) The animation devices are featured in the book "Archeology of Cinema" (1977/Film Art Publishing) by C. W. Ceram, and the film "Film before Film" (1985/directed by Werner Nekes).
(*3) In recent years, numerous research papers have been published around the world regarding body clocks and circadian rhythms.
In vivo recording of suprachiasmatic nucleus dynamics reveals a dominant role of arginine vasopressin neurons in circadian pacesetting
https://journals.plos.org/plosbiology/article?id=10.1371/journal.pbio.3002281
Mutation of a PER2 phosphodegron perturbs the circadian phosphoswitch
https://www.pnas.org/doi/full/10.1073/pnas.2000266117?doi=10.1073/pnas.2000266117
Functional D-box sequences reset the circadian clock and drive mRNA rhythms
https://www.nature.com/articles/s42003-019-0522-3
Cross-scale analysis of temperature compensation in the cyanobacterial circadian clock system
https://www.nature.com/articles/s42005-022-00852-z
Elucidation of master allostery essential for circadian clock oscillation in cyanobacteria
https://www.science.org/doi/10.1126/sciadv.abm8990
The role of cell-autonomous circadian oscillation of Cry transcription in circadian rhythm generation
https://www.cell.com/cell-reports/fulltext/S2211-1247(22)00461-2
Regulation mechanisms of the dual ATPase in KaiC
https://www.pnas.org/doi/abs/10.1073/pnas.2119627119
Mitochondrial LETM1 drives ionic and molecular clock rhythms in circadian pacemaker neurons
https://www.cell.com/cell-reports/fulltext/S2211-1247(22)00554-X
Intracellular Ca2+ dynamics in the ALA neuron reflect sleep pressure and regulate sleep in Caenorhabditis elegans
https://www.sciencedirect.com/science/article/pii/S2589004222007234
Circadian protection against bacterial skin infection by epidermal CXCL14-mediated innate immunity
https://www.pnas.org/doi/full/10.1073/pnas.2116027119
Clock gene-dependent glutamate dynamics in the bean bug brain regulate photoperiodic reproduction
https://journals.plos.org/plosbiology/article?id=10.1371/journal.pbio.3001734
Are you a ‘lark’ or an ‘owl’? Your body clock holds the answer.
https://www.nationalgeographic.com/magazine/article/lark-or-owl-your-body-clock-holds-the-answer
d-Alanine Affects the Circadian Clock to Regulate Glucose Metabolism in the Kidney
https://journals.plos.org/plosbiology/article?id=10.1371/journal.pbio.3002281
Mutation of a PER2 phosphodegron perturbs the circadian phosphoswitch
https://www.pnas.org/doi/full/10.1073/pnas.2000266117?doi=10.1073/pnas.2000266117
Functional D-box sequences reset the circadian clock and drive mRNA rhythms
https://www.nature.com/articles/s42003-019-0522-3
Cross-scale analysis of temperature compensation in the cyanobacterial circadian clock system
https://www.nature.com/articles/s42005-022-00852-z
Elucidation of master allostery essential for circadian clock oscillation in cyanobacteria
https://www.science.org/doi/10.1126/sciadv.abm8990
The role of cell-autonomous circadian oscillation of Cry transcription in circadian rhythm generation
https://www.cell.com/cell-reports/fulltext/S2211-1247(22)00461-2
Regulation mechanisms of the dual ATPase in KaiC
https://www.pnas.org/doi/abs/10.1073/pnas.2119627119
Mitochondrial LETM1 drives ionic and molecular clock rhythms in circadian pacemaker neurons
https://www.cell.com/cell-reports/fulltext/S2211-1247(22)00554-X
Intracellular Ca2+ dynamics in the ALA neuron reflect sleep pressure and regulate sleep in Caenorhabditis elegans
https://www.sciencedirect.com/science/article/pii/S2589004222007234
Circadian protection against bacterial skin infection by epidermal CXCL14-mediated innate immunity
https://www.pnas.org/doi/full/10.1073/pnas.2116027119
Clock gene-dependent glutamate dynamics in the bean bug brain regulate photoperiodic reproduction
https://journals.plos.org/plosbiology/article?id=10.1371/journal.pbio.3001734
Are you a ‘lark’ or an ‘owl’? Your body clock holds the answer.
https://www.nationalgeographic.com/magazine/article/lark-or-owl-your-body-clock-holds-the-answer
d-Alanine Affects the Circadian Clock to Regulate Glucose Metabolism in the Kidney
https://journals.lww.com/kidney360/fulltext/2024/02000/d_alanine_affects_the_circadian_clock_to_regulate.10.aspx
Inter-individual variations in circadian misalignment-induced NAFLD pathophysiology in mice
https://www.cell.com/iscience/fulltext/S2589-0042(24)00155-X
Moonstruck sleep: Synchronization of human sleep with the moon cycle under field conditions
https://www.science.org/doi/10.1126/sciadv.abe0465
Impact of carbon dioxide exposures on sleep latency among healthy volunteers: A randomized order, paired crossover study, evidence from the multiple sleep latency test
https://www.sciencedirect.com/science/article/pii/S0013935124016906
Prefrontal synaptic regulation of homeostatic sleep pressure revealed through synaptic chemogenetics
https://www.science.org/doi/10.1126/science.adl3043
Inter-individual variations in circadian misalignment-induced NAFLD pathophysiology in mice
https://www.cell.com/iscience/fulltext/S2589-0042(24)00155-X
Moonstruck sleep: Synchronization of human sleep with the moon cycle under field conditions
https://www.science.org/doi/10.1126/sciadv.abe0465
Impact of carbon dioxide exposures on sleep latency among healthy volunteers: A randomized order, paired crossover study, evidence from the multiple sleep latency test
https://www.sciencedirect.com/science/article/pii/S0013935124016906
Prefrontal synaptic regulation of homeostatic sleep pressure revealed through synaptic chemogenetics
https://www.science.org/doi/10.1126/science.adl3043
#
by kiyubaru2020
| 2024-12-06 23:39
| 記事,文章 Article,Essay
2024年 12月 06日
Humans and Animation 09 （2010-2011）
Among the ancient pictographs drawn around the year 1, some depict people in multiple poses in one picture to express a sense of movement, and some depict multiple footprints in one picture to express the dynamism of a group dance.
The placement of multiple parts (spacing/space between lines) shows a glimpse of the consciousness involved in controlling rhythm and speed. A similar consciousness exists in the Japanese concept of "間(Ma. interval)".
Humans have tried various methods and techniques to make objects appear to move, even in still images, or to convey impressions and memories of their movement to others.
Later, in 1994, cave paintings were discovered in Chauvet Cave in the Ardish in southern France. These were painted 32,000 years ago, even older than the Altamira cave paintings, which are considered to be the origin of film and animation.
Afterimage depictions were also confirmed in these cave paintings. Therefore, Chauvet is considered the oldest origin of film and animation.
Furthermore, some history books on animation and film say that visual descriptions were written in Greece before the Common Era.
These ancient discoveries of "movement" and "images" have brought about a change in the interpretation of animation.
When it comes to animation, we should not only talk about the "finished work" and "devices," but also about the "intention" and "desire" of humans to "move what is essentially still." This has created an opportunity to lead to new thinking.
In December 2010, a new mural painted by the Denisovans, one of the oldest human species, was discovered. There is a possibility that "pictures expressing movement" exist there as well.
In January 2011, the Hubble Space Telescope detected the most distant galaxy ever observed. What kind of "images" were projected in the darkness of the past, just 500 million years after the Big Bang? *1
The oldest recorded performance of a moving image magic lantern in Japan and the oldest sighting of "foreign animation (or what is said to be) images" are said to have occurred in the Edo period. *2
The history of animation is a long journey through time and space.
What is animation?
In many dictionaries, including English and French, the word "animation" is found next to "animal."
In English, "animation" means vitality, vigor, liveliness, and spirit. There are also similar words that mean living things, life, living, invigorating, and stimulating.
However, we do not know the existence of the first person in the world who called moving pictures and photographs "animation." *3
What is the relationship between animation and humans?
History will surely provide the answer in due course.
References regarding language issues currently available:
The placement of multiple parts (spacing/space between lines) shows a glimpse of the consciousness involved in controlling rhythm and speed. A similar consciousness exists in the Japanese concept of "間(Ma. interval)".
Humans have tried various methods and techniques to make objects appear to move, even in still images, or to convey impressions and memories of their movement to others.
Later, in 1994, cave paintings were discovered in Chauvet Cave in the Ardish in southern France. These were painted 32,000 years ago, even older than the Altamira cave paintings, which are considered to be the origin of film and animation.
Afterimage depictions were also confirmed in these cave paintings. Therefore, Chauvet is considered the oldest origin of film and animation.
Furthermore, some history books on animation and film say that visual descriptions were written in Greece before the Common Era.
These ancient discoveries of "movement" and "images" have brought about a change in the interpretation of animation.
When it comes to animation, we should not only talk about the "finished work" and "devices," but also about the "intention" and "desire" of humans to "move what is essentially still." This has created an opportunity to lead to new thinking.
In December 2010, a new mural painted by the Denisovans, one of the oldest human species, was discovered. There is a possibility that "pictures expressing movement" exist there as well.
In January 2011, the Hubble Space Telescope detected the most distant galaxy ever observed. What kind of "images" were projected in the darkness of the past, just 500 million years after the Big Bang? *1
The oldest recorded performance of a moving image magic lantern in Japan and the oldest sighting of "foreign animation (or what is said to be) images" are said to have occurred in the Edo period. *2
The history of animation is a long journey through time and space.
What is animation?
In many dictionaries, including English and French, the word "animation" is found next to "animal."
In English, "animation" means vitality, vigor, liveliness, and spirit. There are also similar words that mean living things, life, living, invigorating, and stimulating.
However, we do not know the existence of the first person in the world who called moving pictures and photographs "animation." *3
What is the relationship between animation and humans?
History will surely provide the answer in due course.
In order to listen sincerely to that answer, we need to constantly try to adjust our focus on the dark side of society with a vast field of vision like the universe and a lens with multiple fault lines.
(This is the last part of the essay that was made public on the Bunka Gakuin website in 2011. From next time, we will post Part 3, which was not made public due to the closure of the Bunka Gakuin Design Department.)
------
*1 Currently, the most distant galaxy and the oldest mural are constantly being updated with new discoveries. Even if the current most distant and oldest are introduced here, they will soon be updated with new discoveries.
The same goes for related books. In today's world, where data is constantly being revised, there are limitations to books and newspaper articles by general media that introduce science.
Referencing peer-reviewed papers such as Nature and Science is effective. Many papers are paid, but even just checking the abstract is meaningful.
Harada recommends always checking the date the book or article was written.
The same goes for books that discuss Marx and Engels, but articles and books that do not specify the source can be ignored.
*2 In 1803, the Japanese introduced the moving magic lantern "utsushi-e".
The descriptions of the phenomenal images in documents that existed before "utsushi-e" are vague, and in many cases it is difficult to determine whether they were the result of magic or a magic lantern or other projection techniques.
The 1853 publication of the Kaei Meiji Nenroku contains an account of seeing a new type of moving picture (image) made in Russia, a "shadow play," with a screen ratio of 1:3 and including depictions of metamorphosis.
*3 Before 1940, during the preparations for Disney's Fantasia, there are various anecdotes, such as Oscar Fischinger telling Disney his definition of animation as "the liberation of the spirits" (in the original text he may have said "animate").
The same goes for related books. In today's world, where data is constantly being revised, there are limitations to books and newspaper articles by general media that introduce science.
Referencing peer-reviewed papers such as Nature and Science is effective. Many papers are paid, but even just checking the abstract is meaningful.
Harada recommends always checking the date the book or article was written.
The same goes for books that discuss Marx and Engels, but articles and books that do not specify the source can be ignored.
*2 In 1803, the Japanese introduced the moving magic lantern "utsushi-e".
The descriptions of the phenomenal images in documents that existed before "utsushi-e" are vague, and in many cases it is difficult to determine whether they were the result of magic or a magic lantern or other projection techniques.
The 1853 publication of the Kaei Meiji Nenroku contains an account of seeing a new type of moving picture (image) made in Russia, a "shadow play," with a screen ratio of 1:3 and including depictions of metamorphosis.
*3 Before 1940, during the preparations for Disney's Fantasia, there are various anecdotes, such as Oscar Fischinger telling Disney his definition of animation as "the liberation of the spirits" (in the original text he may have said "animate").
References regarding language issues currently available:
Exploring correlations in genetic and cultural variation across language families in northeast Asia
https://www.science.org/doi/10.1126/sciadv.abd9223
Tres nuevos artículos detallan el desarrollo genético de la población del sur de Eurasia durante más de 15.000 años
https://terraeantiqvae.com/profiles/blogs/tres-nuevos-articulos-detallan-el-desarrollo-genetico-de-la-pobla
57 Different Scripts Descended from Egyptian Hieroglyphs, by Starkey Comics
https://www.thearchaeologist.org/blog/the-abcd-family-tree-by-starkey-comics
Clarifying the brain processing of ethnic minority languages
https://www.tohoku.ac.jp/japanese/newimg/pressimg/tohokuuniv-press20230201_01web_psycholinguistics.pdf
Europe’s ancient languages shed light on a great migration and weather talk
https://projects.research-and-innovation.ec.europa.eu/en/horizon-magazine/europes-ancient-languages-shed-light-great-migration-and-weather-talk
This ancient society helped build the modern world.
https://www.nationalgeographic.com/premium/article/invention-sumer-cradle-civilization-tigris-euphrates
Language statistics as a window into mental representations
https://www.nature.com/articles/s41598-022-12027-5?fromPaywallRec=false
Shared structure of fundamental human experience revealed by polysemy network of basic vocabularies across languages
https://www.nature.com/articles/s41598-024-56571-8?fromPaywallRec=false
Universal and cultural factors shape body part vocabularies
https://www.nature.com/articles/s41598-024-61140-0
https://www.science.org/doi/10.1126/sciadv.abd9223
Tres nuevos artículos detallan el desarrollo genético de la población del sur de Eurasia durante más de 15.000 años
https://terraeantiqvae.com/profiles/blogs/tres-nuevos-articulos-detallan-el-desarrollo-genetico-de-la-pobla
57 Different Scripts Descended from Egyptian Hieroglyphs, by Starkey Comics
https://www.thearchaeologist.org/blog/the-abcd-family-tree-by-starkey-comics
Clarifying the brain processing of ethnic minority languages
https://www.tohoku.ac.jp/japanese/newimg/pressimg/tohokuuniv-press20230201_01web_psycholinguistics.pdf
Europe’s ancient languages shed light on a great migration and weather talk
https://projects.research-and-innovation.ec.europa.eu/en/horizon-magazine/europes-ancient-languages-shed-light-great-migration-and-weather-talk
This ancient society helped build the modern world.
https://www.nationalgeographic.com/premium/article/invention-sumer-cradle-civilization-tigris-euphrates
Language statistics as a window into mental representations
https://www.nature.com/articles/s41598-022-12027-5?fromPaywallRec=false
Shared structure of fundamental human experience revealed by polysemy network of basic vocabularies across languages
https://www.nature.com/articles/s41598-024-56571-8?fromPaywallRec=false
Universal and cultural factors shape body part vocabularies
https://www.nature.com/articles/s41598-024-61140-0
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by kiyubaru2020
| 2024-12-06 14:09
| 記事,文章 Article,Essay
(*Automatic translation is used)
1925: The Ministry of Home Affairs begins censorship of films.
1927: Animation artist Noburo Ofuji begins using cels in Japan.
1931: The Manchurian Incident, left-wing oppression, strengthened film censorship, and mass production of war films.
1932: The first all-cel animation appears.
1933: Hitler becomes Chancellor of Germany, and Roosevelt becomes President of the United States. That same year: Japan withdraws from the United Nations. Takiji Kobayashi is massacred by police. The "Proposal for the Establishment of National Film Policy" is quickly passed.
1936: Japan-Germany Anti-Comintern Pact. General Franco oppresses the Spanish Popular Front government. Animator Norman McLaren and film directors join the "International Brigades" in response.
1945 August 6th: The atomic bomb is dropped on Hiroshima. August 9th: The atomic bomb is dropped on Nagasaki. August 14th: The Japanese government accepts the Potsdam Declaration.
The majority of the population is made up of a generation that has no experience of the war, and many politicians only speak about the war from an armchair perspective. These details must continue to be conveyed to those who aspire to become animators.
1925: The Ministry of Home Affairs begins censorship of films.
1927: Animation artist Noburo Ofuji begins using cels in Japan.
1931: The Manchurian Incident, left-wing oppression, strengthened film censorship, and mass production of war films.
1932: The first all-cel animation appears.
1933: Hitler becomes Chancellor of Germany, and Roosevelt becomes President of the United States. That same year: Japan withdraws from the United Nations. Takiji Kobayashi is massacred by police. The "Proposal for the Establishment of National Film Policy" is quickly passed.
1936: Japan-Germany Anti-Comintern Pact. General Franco oppresses the Spanish Popular Front government. Animator Norman McLaren and film directors join the "International Brigades" in response.
1937: The Military Secrets Protection Law is completely revised, and the scope of coverage is expanded and strengthened. The Anti-Comintern Pact is signed between Japan, Germany, and Italy.
1938: National Mobilization Law. New censorship and ideological control. Sponsors of animation films become the state and the military.
1939: The "Film Law" goes into effect (modeled on the Nazi Film Law).
1940: The Tripartite Pact is signed between Japan, Germany, and Italy. The Imperial Rule Assistance Association is established. The New System Movement, the Industrial Patriotic Association, the Greater Japan Women's Association, Buraku Associations, Neighborhood Associations, and Tonari Gumi (neighborhood associations). Japan's war of aggression expands.
1941: National Defense Security Law (punishment for leaking national secrets).
1941: The Japan Line Drawing Association (the first animation association) is founded. Major film companies such as Shochiku establish animation departments.
1943 - Disney's national animation "Victory of Air Power", 70 minutes. Japan's first full-scale mid-length animation to boost morale, "Momotaro's Sea Eagles", 37 minutes.
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by kiyubaru2020
| 2024-12-06 12:43
| 記事,文章 Article,Essay
2024年 12月 05日
Humans and Animation 08 （2010-2011）
In 1879, murals depicting animals in vivid motion were discovered in the Altamira Cave in Spain. These murals, painted approximately 10,000 years ago, are famous in the history of animation and video. *1
Then, in 1940, the Lascaux murals were discovered in the Dordogne in southwestern France. These murals were painted 15,000 years ago.
The animals in these murals appear to have multiple poses and scenes in the same frame. If this is intentional, it corresponds to the afterimage technique, which expresses the speedy movements of animals in a single image, and the method of multi-temporal projection (a method of expressing multiple times in a single image). The method of drawing overlapping images is also widely used in modern manga and animation.
The brushstrokes of the murals' contours are smooth, as if they were drawn with a real brush, and have subtle variations in strength that evoke the pressure of the brush. Not only is movement conveyed, but the act of expressing objects using contour lines has already begun.
Of course, at that time there were no documents, information, or devices or instruments to assist in drawing. After memorizing the images they witnessed while hunting, they used their imaginations to the fullest in their living space and drew them all freehand.
The discoverers of the murals were apparently quite surprised when they first saw them, thinking that there were real animals in the cave. How was such vivid expression possible 10,000 years ago?
For people at that time, every day was a battle to protect their own lives and families, secure food, and survive. The mental concentration and observation required to draw other people and animals was a serious act that risked one's own survival, and the tension required was probably incomparable to that of today.
*1 Mainly in the 1970s, film critics with a background in social science who had experienced the war would naturally begin by explaining the existence of ancient murals when talking about the history of film. However, since the neoliberalization that began in 1981, filmmakers have forgotten to take a serious approach to film.
In addition, the origins of paintings and animation-like expressions on ancient Earth before the Christian era have been continually updated in recent years through new discoveries.
Then, in 1940, the Lascaux murals were discovered in the Dordogne in southwestern France. These murals were painted 15,000 years ago.
The animals in these murals appear to have multiple poses and scenes in the same frame. If this is intentional, it corresponds to the afterimage technique, which expresses the speedy movements of animals in a single image, and the method of multi-temporal projection (a method of expressing multiple times in a single image). The method of drawing overlapping images is also widely used in modern manga and animation.
The brushstrokes of the murals' contours are smooth, as if they were drawn with a real brush, and have subtle variations in strength that evoke the pressure of the brush. Not only is movement conveyed, but the act of expressing objects using contour lines has already begun.
Of course, at that time there were no documents, information, or devices or instruments to assist in drawing. After memorizing the images they witnessed while hunting, they used their imaginations to the fullest in their living space and drew them all freehand.
The discoverers of the murals were apparently quite surprised when they first saw them, thinking that there were real animals in the cave. How was such vivid expression possible 10,000 years ago?
For people at that time, every day was a battle to protect their own lives and families, secure food, and survive. The mental concentration and observation required to draw other people and animals was a serious act that risked one's own survival, and the tension required was probably incomparable to that of today.
*1 Mainly in the 1970s, film critics with a background in social science who had experienced the war would naturally begin by explaining the existence of ancient murals when talking about the history of film. However, since the neoliberalization that began in 1981, filmmakers have forgotten to take a serious approach to film.
In addition, the origins of paintings and animation-like expressions on ancient Earth before the Christian era have been continually updated in recent years through new discoveries.
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by kiyubaru2020
| 2024-12-05 23:45
| 記事,文章 Article,Essay
