Hirokazu Koreeda Research Articles

"Art Cinema’s Suicidal Posthuman Women”

Air Doll (Kûki ningyô, dir. Hirokazu Kore-eda, 2009) introduces a posthuman perspective through its protagonist Nozomi, an inflatable sex doll who miraculously comes to consciousness. Meanwhile, On Body and Soul (Testről és lélekről, dir. Ildikó Enyedi, 2017) centers on a surreal romance between Mária and Endre that thrives, in part, on their posthuman connections to animals and objects. Strong narrative, erotic and traumatic elements bind these films—in particular, their treatments of their posthuman women protagonists—which video editing offered the ideal method for unpacking. Air Doll and On Body and Soul explore the posthuman possibilities inherent in their protagonists’ nonhuman and neurodivergent subjectivities, yet the films’ handling of Nozomi and Mária's leaky bodies reveals their confinement within humanist norms. Left bleeding and deflated, what do Nozomi and Mária foretell for posthuman cinema?

The Mother in Kore-eda's Broker : Striking New Reverberations in the Korean Context

Abstract: This article's interest in Hirokazu Kore-eda's Broker (2022) is twofold. First, it analyzes the visual text to unwrap the ideas of conventionality that are subtly debunked in the making of an unconventional family, amidst which it analyzes the mother character to be a central force of redemption and union. Ultimately, it argues the role of motherhood in this new family unit to be that of an imaginary and ideological vessel. Second, it positions this idea against the history of Korean cinema, where decades of films have similarly glorified motherhood as an unconditional love that redeems. Yet Kore-eda's radical image of a teenage sex worker as the bearer of this ideology simultaneously resonates with a different strand of Korean films: half-commercial half-arthouse films from the mid-1990s and 2000s known as "high-quality films." Motherhood is one of two connections that can be drawn between Broker and high-quality films. While the mother aligns with the female precedents of these films by together pushing the boundaries of the Korean cinematic mother, her pivotal role in the making of a new kind of family also connects to depictions of "alternative families." Such reverberations are meaningful not only in allowing Broker to be positioned within the context of Korean film history as a story that interlaces with the ideas of Korean films despite being made by a non-Korean auteur, but also in illuminating the trans- and multi-national nature of (art) films today, where the lowering of the national boundaries surrounding auteurs are leading to multi-contextual films.

Cultural Recognitions and Nostalgic Evocations: The Cinematic Experience of Costumbrist Films

Abstract This article concentrates on costumbrist cinema, an approach to filmmaking characteristically concerned with the accurate representation of the customs, habits and cultural idiosyncrasies of a particular society or group of people. After defining and contextualizing the concept of costumbrismo, the article draws on Jean-Pierre Meunier’s modes of filmic identification to describe the experiential structure of costumbrist cinema, characterized by the existent or non-existent recognition of the specific cultural representations. Following this, the potentially evocative feature of costumbrist cinema is considered with regard to its nostalgic dimension. To conclude, Volver (Pedro Almodóvar, 2006), A Separation (Jodâyi-e Nâder az Simin, Asghar Farhadi 2011), Still Walking (Aruitemo aruitemo, Hirokazu Kore-eda 2008) and Happy as Lazzaro (Lazzaro felice, Alice Rohrwacher 2018) provide the basis on which to outline different approaches to cinematic costumbrismo and their functions within the film’s narration: (1) costumbrismo as narrative imperative; (2) extensive dimension; (3) cinematic contemplation and (4) costumbrist framework as subversive potential.

A Brief Analysis of Hirokazu Kore-eda's Image Style -- Taking the Film "Our Little Sister" as an Example

In the late 1990s, Hirokazu Kore-eda was praised as the embodiment of the "new wave of Japanese cinema." From the earliest "Magic Light" which won the Jury Prize at the Cannes Film Festival, to the widely spread "Walk" and then to the Palme d 'Or winner "Shoplifters", all of these prove that this Oriental director full of life philosophy has brought his lifelong thinking about life and death, family and society into his plain and warm works, which have great research value. This paper will discuss the screen structure of "Our Little Sister", starting from the audio-visual language, narrative structure, and spiritual core that the director wants to convey. It can be concluded that the film "Our Little Sister", directed by Hirokazu Kore-eda, has a warm, natural, fresh, and lively image style that is delicate and close to life.

Cannes 2023

Film Quarterly editor and veteran critic B. Ruby Rich reports from the 2023 edition of the Cannes Film Festival. She notes that the gap between outside perception and insider experience of the Festival was profound, as bad weather and ticketing woes meant that the advice most often shared was the bromide “If you’re not feeling humiliated, you’re not at Cannes.” Nonetheless, Rich reports on a satisfying array of films, both from known auteurs including Todd Haynes, Hirokazu Kore-eda, and Kleber Mendonça Filho and new discoveries such as the Georgian film Blackbird Blackbird Blackberry from director Elene Naveriani and the animated Robot Dreams by Pablo Berger.

Narrative Structures for the European Identity Crisis: Antiplot in Ulysses’ Gaze, A Talking Picture and Our Music

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsMaría NogueraMaría Noguera teaches History of Cinema and Film Criticism in the Universidad de Navarra (Spain) since 2006. In the same institution, she has been Head of Master’s Degree in Screenwriting (2015–2018). Her research and academic interest focus on European cinema. She has written extensively about realistic theory traditions in cinema and their connection to film directors such as Roberto Rossellini, Joao Botelho or Manoel de Oliveira.Miguel Muñoz-GarnicaMiguel Muñoz-Garnica teaches Film Criticism and Foundations of Narrative in the Universidad de Navarra (Spain). He completed a doctoral thesis about the image of family in Japanese cinema and its relevance in the films of contemporary filmmaker Hirokazu Koreeda. He has released several academic writings related to Japanese and Asian cinema. He also works as a film critic at the online Spanish magazine El Antepenúltimo Mohicano.

Documentary-Warm-Restrained: An Interpretation of the Aesthetic Style of the Long Take in Hirokazu Koreeda's Films

Documentary-Warm-Restrained: An Interpretation of the Aesthetic Style of the Long Take in Hirokazu Koreeda's Films

Don’t teach: exploring the irreducibilities of film education through Japan’s Children Meet Cinema project in conversation with Etsuko Dohi

This article presents a case study of the innovative Japanese film education project Children Meet Cinema, through aspects of an interview with its founder Etsuko Dohi, placed within a wider discussion of the project’s pedagogical approaches. In particular, the article details the innovative manner in which Children Meet Cinema has invited some of Japan’s leading film-makers – among them, Nobuhiro Suwa, Hirokazu Koreeda and Naomi Kawase – to engage with children making films for the first time.

A reflection on cinematic architecture through light, poetic imagery, narrative and social issues

The Light and its Disappearance in the Darkness; The chapter begins with the question of what can be found in the integration of architecture and cinema and continues exploring light in the context of cinematic architecture theory. This is followed by a discussion of the illusions of light that emerge in spaces where cinema and architecture meet. The thought then reaches Paul Virilio's conception of the aesthetics of architecture as a metaphor for cinema from the experience of space, the image of disappearance. It suggested I make a film work, 'Hiroshima Through Light', in the AA. The Experimentation in the AA Diploma Unit 3; This chapter describes the exploration of cinematic architecture under the tutelage of Pascal Schöning, a unit master of the AA, which includes philosophy, aesthetics, and challenges to urban and social issues, along with his unique methodology. He explains to his former students the importance of a more philosophical approach to the notion at the end of Diploma Unit 3. That is when I see Juhani Pallasmaa's description of the need for architects to look at people's daily lives and society through a phenomenological approach, like filmmakers. My awareness moves on to a study of the architects depicted by filmmakers. Image of Architects Depicted in Film; The images of architects in the films of Michelangelo Antonioni, Terrence Malick and Hirokazu Kore-eda are discussed. It indicates that they are entrusted with a role of building human relationships. Cinématic Architecture Tokyo; This chapter outlines activities in Japan that are being rolled out in the form of workshops, lectures and exhibitions to develop the theory of cinematic architecture. The theme of the workshops held in the Hokuriku region was the revitalisation of declining local urban communities, which is also related to the previous chapter on “building human relationships”. This year, the projection attempted to embody poetic images to illuminate memories that are being lost. Conclusion; In addition to reflecting on essential elements such as the aesthetics of disappearing light, memory, history, poetic imagery, narrative and social issues, adding a focus on the significance of communication design, fields of sense and spatial quality, could bring new perspectives to the integration of architecture.

The Continuations and Changes of Hirokazu Koreeda’s Film Aesthetic Style: The Film Broker as an Example

The Continuations and Changes of Hirokazu Koreeda’s Film Aesthetic Style: The Film Broker as an Example

Women’s Epistolary Cinema. Exploring Female Alterity and Intersubjectivity: Letter-Films and Filmic Correspondences

This article aims to analyse the relevance of female authorship in the creation of contemporary epistolary cinema, focusing on letter-films and filmic correspondences. The works of various filmmakers are essential to understand the evolution of these enunciation devices since the emergence of cinematic modernity to the present moment. Since Agnès Varda represented an epistolary correspondence between women – L’une chante, l’autre pas (1977) – and Marguerite Duras created an epistolary diptych as two identity-alterity variations – Aurélia Steiner (1979) –, other women filmmakers have developed these cinematic forms. Letter-films delve into epistolary seriality and materiality – Cartas visuales (Tiziana Panizza, 2005–2012), and Envíos (Jeannette Muñoz, 2005–2017) – and deepen the concept of alterity – Elena (Petra Costa, 2012). Filmic correspondences work on emotion-image – This World (Naomi Kawase and Hirokazu Kore-eda, 1996), In Between Days (Naomi Kawase and Isaki Lacuesta, 2009) – and show female intersubjectivity – Correspondencia: Fernando Eimbcke – So Yong Kim (2011), Life May Be (Mania Akbari, Mark Cousins, 2014), A Moon for My Father (Mania Akbari, Douglas White, 2019), Transoceánicas (Meritxell Colell Aparicio, Lucía Vassallo, 2020). Women’s letter-films and filmic correspondences delve into the exploration of intimate space, authorial vindication and epistolary materiality, in order to create diverse experiences of female alterity and intersubjectivity that become sisterhood practice.

고레에다 히로카즈 영화에 나타난 여성성의 원형 -영화 걸어도 걸어도(2008), 바닷마을 다이어리(2015), 태풍이 지나가고(2016)를 중심으로-

고레에다 히로카즈는 수많은 수상경력을 갖고 있는 일본을 대표하는 영화감독 중 하나이다. 고레에다 히로카즈 감독은 가족을 소재로 가슴이 먹먹한 이야기를 주로 다루어 왔다. 본 연구자는 고레에다 히로카즈 감독의 가족의 중심에는 늘 어머니가 역할을 하고 있다는 흥미로운 점을 발견하였고 원형적 여성성이 고레에다 히로카즈 이야기의 중요한 역할을 하고 있다는 느낌을 갖고 연구를 시작하였다. 분석심리학자인 에리히 노이만은 그의 저서 ‘위대한 어머니 여신(Die Grosse Mutter)에서 다양한 여성성의 원형에 대해서 이야기 하고 있다. 이 연구에서는 고레에다 히로카즈의 영화에서는 어떠한 노이만이 서술한 원형적 여성성이 드러나 있는지 살펴보고자 했다. 고레에다 히로카즈의 이야기에 녹아있는 여성성의 원형을 살펴보는 것은 여전히 현대의 우리의 무의식에 작용하고 있는 인간의 원형성의 본질에 대해 이해할 수 있을 것이다. 영화에는 다양한 원형적 여성성이 내포되어있지만, 그 중에서도 영화에 나타난 여성성의 변환비의와 여성적 공간성들로 살펴보고 이러한 특징들이 어떻게 노이만이 서술한 것들과 관계가 있는지 살펴보았다. 가족이라는 소재의 근본에는 남성성과 더불어 여성성의 원형적인 측면이 대비되어 나타나며 여성적 공간성으로 따뜻한 느낌을 주고 있고, 무언인가를 변환시킬 수 있는 능력을 가진 여성성의 변화비의가 영화에 자주 사용되는 것을 알 수 있었다. 노이만의 여성성의 원형은 고레에다 히로카즈의 영화에서 주인공이나 이야기의 주제는 아니어도 영화의 분위기와 느낌을 만들어 내며 여성성의 원형성이 고레에다 감독의 영화에서 중요한 부분을 차지 한다는 것을 알 수 있었다. 여성성의 원형성은 우리의 인간 무의식에 작용하여 불안감이나 안정감, 좋은 것과 나쁜 것들과 같은 느낌을 만들고 부지불식간에 우리에게 영향을 미치고 기본적인 감정을 만들어 내고 있다.

Viewing Kore-Eda's Nobody Knows and Shoplifters Through Legal-Social Lenses

With a string of well-reviewed movies since his directorial debut in 1995, Hirokazu Kore-eda ranks among Japan’s most celebrated cinema directors today. His 2018 film, Shoplifters, won the 2018 Palme d’Or prize as the top film at the 71st Cannes Film Festival.

가족 서사와 공간 재현 - 고레에다 히로카즈 영화를 중심으로 -

사회를 관통하는 키워드를 내포한 가족영화는 영화사 초기부터 관객과 소통하며 시대변화에 대한 다양한 관점과 사회문화적 콘텍스트를 반영하는 중요한 텍스트로 자리매김 되었다. 그런 측면에서 가족 서사를 통해 현대사회에 대한 매우 날카로운 관점을 제공한 고레에다 히로카즈 영화들은 매우 주목할 만하다. 고레에다 히로카즈의 가족서사는 죽음과 상실, 단절과 소외에 대한 테마들을 이어나가며 현대 사회와 인간관계에 대한 깊이 있는 성찰을 보여주었을 뿐 아니라 그 주제적 묵직함에도 불구하고 흥행에도 성공하며 대중적 공감대를 형성하였다. 이러한 그의 성취는 가족의 의미를 사유하도록 이끄는 가족 영화라는 서사형식뿐 아니라‘시간’과‘일상’을 기록하는 공간재현 형식과도 깊은 연관성을 가진다. 따라서 본고는 고레에다 히로카즈 영화의 가족 서사와 공간 재현 형식을 분석하였고 이를 통해 삶과 공간이 긴밀하게 소통하며 주제에 이르는 영화적 형식을 찾을 수 있었다. 이처럼 가족서사의 공간 재현과 그 형식 요소들의 역할 및 의미에 주목한 본 연구는 시대성을 중심으로 거시적 관점으로 접근한 기존의 연구들에서 보다 확장된 연구로서 가치를 가진다.

가족 개념의 변화, ‘정상가족’에서 ‘포용가족’으로 - 고레에다 히로카즈의 『좀도둑 가족』을 중심으로 -

가족 개념의 변화, ‘정상가족’에서 ‘포용가족’으로 - 고레에다 히로카즈의 『좀도둑 가족』을 중심으로 -

고레에다 히로카즈 극영화의 대화 장면 연구-인물, 관계, 주제 표현을 중심으로

고레에다 히로카즈의 영화는 인물의 일상 속에 잠입하여, 문득 인물의 내면에 다가가 그를 둘러싼 사회를 비평한다. 그의 영화에서 인물과 인물의 사소한 일상 속을 집요하게 응시하는 ‘대사’, 즉 ‘대화 장면’은 단순히 내러티브 전개를 위한 수단으로써 소비되지 않는다. 고레에다 히로카즈가 연출한 영화 속 대화 장면은 인물의 내면, 인물 관계, 그리고 영화의 주제까지 효과적으로 드러내는 하나의 미학이다.BR 감독의 극영화 대화 장면은 다음과 같은 특징을 갖는다. 첫째, 〈걸어도 걸어도〉는 후경 미장센 구성을 통해 인물의 내면을 투영한다. 둘째, 〈그렇게 아버지가 된다〉에서는 카메라 앵글(부감, 눈높이, 앙각)을 조절하여 인물의 내적 변화를 표현한다. 셋째, 〈바닷마을 다이어리〉는 오버 더 숄더 쇼트를 활용하여 인물 관계의 소통과 단절을 표현한다. 넷째, 〈세 번째 살인〉에서는 180도 규칙 위반과 유리창에 비친 투사와 반영의 이미지를 적극 활용하여 ‘표현(양식)이 곧 주제(형식)’로서 기능하는 모범적 사례를 남긴다.

예술과 현실의 경계 흐리기 개념을 현실화하는 영화 내러티브의 초월적 지향 : 고레에다 히로카즈 감독의 〈아무도 모른다〉에 나타난 아이의 생명력 개념을 중심으로

예술과 현실의 경계 흐리기 개념을 현실화하는 영화 내러티브의 초월적 지향 : 고레에다 히로카즈 감독의 〈아무도 모른다〉에 나타난 아이의 생명력 개념을 중심으로

Transformations of the Family Norms through Contemporary Japanese Films - Focusing on Hirokazu Koreeda’s Films -

Transformations of the Family Norms through Contemporary Japanese Films - Focusing on Hirokazu Koreeda’s Films -

A Study on Aesthetics of Over the Shoulder Shot for a Hirokazu Koreeda’s Film 'Our Little Sister' - Based on Theme and Relationships of Characters -

A Study on Aesthetics of Over the Shoulder Shot for a Hirokazu Koreeda’s Film 'Our Little Sister' - Based on Theme and Relationships of Characters -

A Study on Hirokazu Kore-eda －The Deepest and Continuous Concerns About the Contemporary Japanese Society－

A Study on Hirokazu Kore-eda －The Deepest and Continuous Concerns About the Contemporary Japanese Society－