Abstract
Kunio Kato’s film “La Maison En Petits Cubes” has two dimensions. One of these is the content design, which depends on aristo aesthetic, and the other one is the visual aesthetic, which depends on tranquil, simple, refreshing and relaxing traditional japan pictures like Ando Hirosige’s. The director manages to configure a visual and content integrity between the form of human body and the design of the city. The human- city analogy is the key point to look at the human consciousness which inquiries the existentialism problems related to changing milieu.
Highlights
Kunio Kato’s Film La Maison en Petits Cubes has a crucial importance in the information era of digital arts
The visual design of the film is based on traditional Japanese pictures in which basic characters of national Japanese art is found
The film is an extraordinary production by the dimension of except for popular Japanese animated films which have the big market in the world
Summary
Kunio Kato’s Film La Maison en Petits Cubes has a crucial importance in the information era of digital arts. The hidden and stationary landscape pictures of Ando Hiroshige who is the master of Japanese wood paintings were perceived as a gift which belongs to everyday life products by people These artifacts were accepted as elitist productions through communication and increasing commercial activities of Japan with the West by famous artists like Edgar, Degas, Claude, Manet, and Vincent Van Gogh. It pointed out of the end of Eurocentrist images and the beginning of the seeing, perceiving, and recording of the world on the new meaning phase (Hokenson 2004: 17) Artists exposed their vulnerable world expressions through Japan wood paintings style which requires delicate handwork. Natural organic vivid designs which inspire of nature establish a relationship between nature and artifacts in Japanese pictures By these dimension, in the film, slowly disappearing images create an atmosphere in which simple and tranquil watching process is revealed. Drawing an analogy with Paul Valéry’s definition of poetry as ‘a prolonged hesitation between sound and meaning (Clarke and Doel 2009: 112-114)
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