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"Crayon Xiaoxin" as a lot of childhood memories after 8090s, presumably Xiaoxin's mean smiley face has been deeply engraved in everyone's memories.
As a famous sub-supply animation in Japan, many anime who became famous in the future have left their mark on the series, including Masaaki Yuasa, the supervisor of "Shichi-10 and a Half Myth Daisyo", and the superintendent of "The Girl and the Chariot", Mizushima Nu, who has dedicated his talents to Koshin.
And the animation supervisor to be introduced today also has an indissoluble relationship with Xiaoxin, he is Xiaoxin's theatrical version of the masterpiece "Crayon Xiaoxin Calling the Wind and Rain!" The Adult Empire Strikes Back", "Crayon Little New Calling the Wind and Rain!" Keiichi Hara, the superintendent of the Warring States War.
If you want to know more about Keiichi Hara's works, you can reply to [Keiichi Hara] in the background.
Keiichi Hara's works are simple and naturally concerned with the bits and pieces of daily life, and he is known as the successor of the famous Japanese director Yasujiro Ozu. He is not interested in following the trend of the times, the work is full of nostalgic elements, and is still a naivety without a mobile phone, today I will take you into the animation career of this interesting literary middle-aged uncle.
Keiichi Hara graduated from the Tokyo Designers College, an animation specialty, and in 1983 joined SHIN-EI Animation, a subsidiary specializing in animation. Talented, he became the super supervisor of the TV anime "Super Power Momi" in shin-EI in only four years, and soon as a supervisor, he produced his first theatrical version of the animation "Super Power Momi Starry Sky Dancing Doll".
The Momi series shows the strength of newcomer Keiichi Hara as a supervisor, and the delicate emotional portrayal of the animation is unexpectedly loved by many adults, after which Keiichi Hara filmed two theatrical versions of Dora A Dream as a supervisor. Although most of the audience knew Hara Sang because of the crayon Shin-chan, he was already the backbone of SHIN-EI before that.
With her outstanding performance in a series of animations, Keiichi Hara deservedly became a core member of the crayon shiny theater version. In 1993, Keiichi Hara and Crayon Koshin's supervisor at the time, Mannon Hongo, produced Crayon Koshin's first theatrical version of the anime "Crayon Shin Shin's Dynamic Superman vs Swimsuit Demon King".
Keiichi Hara is responsible for the warmer daily scenes in the first half of the film, while Hongo Man is responsible for the lively and funny action scenes in the second half, and the first half also shows the exquisite control of Keiichi Hara's daily dramas.
Especially in the part of Xiao Xin walking Xiao Bai for about seventeen minutes, the sad soundtrack, the river at dusk and three shots that place Xiao Xin in a corner make Xiao Xin look very lonely, as if the puzzlement of Xiao Xin xiao xiao is magnified into the confusion of the whole childhood.
Hara Keiichi prefers simple and ordinary daily stories, but there is a hint of pity in ordinary daily life, even such a nonsensical comedy as Crayon Xiaoxin cannot hide Hara Keiichi's literary atmosphere.
And a daily scene immediately after the little new dog walk is also handled very cleverly. A fixed overhead shot takes Mi-chi during the time when she cooks until Hiroshi comes home. After that, there is a middle scene of Hiroshi returning home, and two simple fixed shots express the passage of time from dusk to night, and the actions of a family of three.
Although he showed his strength when he first participated in the production of the Koshin theater version, because the supervisor of the crayon Koshin at that time was Hongo Man, by and large Keiichi Hara was still assisting Hongo Man, there was no obvious feature of Keiichi Hara in the three theater versions after this.
In 1997, Keiichi Hara took over The Baton of Hongoman and became the supervisor of Crayon Koshin, and produced the fifth theatrical version of Crayon Shin shin, "Crayon Shin No. Dark Pearl Pearl Chase", and Koshin also entered Hara Keiichi for a time.
There is a big difference between this work and the crayon Xiaoxin supervised by Hongo Man, and the crayon Xiaoxin of Hongo Man is how funny and hilarious it comes, and the plot is basically a straight line to the end. Unlike Keiichi Hara, she deliberately added some bridge sections that show the customs of Japanese life.
In the past, Hongoman's films were basically solved after xiaoxin's various funny things. In addition to the nonsense funny in Hara's movie, there will always be a warm and touching human fireworks atmosphere.
This warmth is also in the next theatrical version of "Crayon Little New Electric Shock!" The Battle of the Pig's Hoof is continued, and Keiichi Hara uses a simple fairy tale to portray the left guard who turns from bad to good, although the story is simple but warm, and the scene where Xiaoxin tears is also a scene that will not appear in the previous theatrical version.
On top of the nonsense and absurd characteristics of Xiaoxin, Yuan Huiyi gave Xiaoxin a sense of responsibility and seriousness, which made people laugh and cry. Teacher Yoshihito Usui also sang a song in the anime, which is also the original song of Teresa Teresa's classic song Walking the Road of Life.
The use of showa-era music was also a distinctive feature of Keiichi Hara
Released in 1999, "Crayon Little New Explosion! "Hot Springs Hot Armageddon" Keiichi Nakahara also shows another side of his literature and art. There is a very wonderful tank scene in this game, which many people think is from another storyboard of this work, Mizushima Nu, but this wonderful tank scene is from Keiichi Hara.
Mizushima also modestly said on Twitter that he had learned all about tanks from Keiichi Hara
The hot spring fire armageddon is also the first big screen cooperation between Tsuyoshi Mizushima and Keiichi Hara, after which the two have gone through two theatrical versions of the run-in, and finally joined forces in 2001 to bring you the peak work of crayon xiaoxin, "Crayon Little New Calling wind and rain!" The Lord Empire Strikes Back".
In fact, when Keiichi Hara first proposed the adult empire plan, there were many voices of opposition, but he insisted on going his own way and even before doing it, he had already held the consciousness of gambling on his supervision career and the psychological preparation to be criticized by the audience.
Based on the Osaka World Expo, which symbolized Japan's post-war glory, and the 21st century, which represented Japan's economic recession, the Empire of Lords explored the past and the future at the beginning of the century.
Keiichi Hara has done a lot of research on the Showa era, the lively shopping street, sewing machines, music full of the sense of the times, tricycles and the twilight that never ends, the work perfectly restores the life of Japan in the 1970s, and Keiichi Hara's clever reproduction of the past years has enchanted many Japanese audiences.
In the anime, Hiroshi's memory killing is even more divine, Keiichi Hara condensed Hiroshi's life into a short three minutes on the screen, but it was this short three points that fully displayed Hiroshi from his innocent and infinite childhood to his life of finally becoming a father in front of the audience. This short three-minute period also became a classic clip of the crayon series.
If Keiichi Hara were not a person who was extremely sensitive to daily life, it would be impossible to pick out such a representative few fragments from Hiroshi's life.
Of course, the rest of the film is also a lot to see, the first half of the escape process of the nonsense chase scene absurd and funny, the second half of the Xiaoxin family in the elevated three twists and turns of the escape thrilling, and the last Xiaoxin's wild running, falling down are endlessly memorable.
In addition, the villain of this film is also very funny and evil villains in the past theater version, and has been quietly watching the fire clouds at dusk, nostalgic for the nostalgic taste of the past era.
Personally, I think this villain is very much like Keiichi Hara, who himself mentioned in an interview that "I don't understand the mood of those who want to catch up with the trend." Nostalgia for the past has also become a major feature that runs through Hara's works.
The Empire of Adults is definitely a masterpiece of Keiichi Hara's crayon small new era, and the characteristics of nostalgia for the past, the portrayal of a large number of daily details of life, and the use of music in the Showa era are all revealed.
The faint sadness and literary atmosphere created by Keiichi Hara in the whole film have won the favor of many adults, reversed many people's impression of crayon small novels, and still won the unanimous praise of children.
The following year, Keiichi Hara collaborated with Tsuyoshi Mizushima to produce another representative work of Crayon Shinshin, "Crayon Shin Shin Woo Cray Crayon Crayon Cray The anime perfectly recreates the customs, architecture, and battlefields of the Warring States period, telling the story of the princess who longed for free love in Kasuga Castle in the Warring States period, and the samurai who devoted themselves to the city-state, which was destined to lead to tragedy.
One of Hiroshi's lines in the anime reads, "As far as I know, the name Murajo has never appeared on the stage of history." It also made the author feel Hara's preference for ordinary stories.
Seemingly such a vigorous war and love will eventually disappear into history and become an ordinary gravel in the vast history. And Keiichi Hara is the recorder of this gravel, even if it is small, he has never missed it.
The film was shortlisted for the top ten of the year by the Japanese film authority magazine Film Shunbun, and won the Animation Department Award at the Japan Agency for Cultural Affairs Media Arts Award. With the excellent performance of the two theatrical versions, Keiichi Hara has become the backbone of the animation industry.
After this, Keiichi Hara handed over the position of supervisor to Mizushima Nu to take a back seat, and he also began the preparatory work for "Kappa Summer". Finally, in 2005, Keiichi Hara left SHIN-EI to start the production of "Summer of Kappa", which was released in 2007.
The film was once again shortlisted for the Top 10 Film of the Year, winning the Animation Department Award at the Agency for Cultural Affairs Media Arts Awards, the Japan Academy Award for Best Animated Feature Film, and "Summer of the Kappa" became Keiichi Hara's masterpiece.
After leaving the crayon koshin, Keiichi Hara finally evolved into a complete body in "Kappa Summer", and Kappa's summer simple style also became the label of Hara Keiichi. "Kappa Summer" is simple and simple, the whole film is mainly fixed shots, attaches great importance to the portrayal of the character's demeanor, and the style of the work is very close to the real film.
Although fixed lenses are the most commonly used and basic shots in film and television works. But it's rare for an animation supervisor like Keiichi Hara to be so obsessed with using fixed shots. From "Kappa's Summer", Keiichi Hara's dedication to fixed shots has been overflowing with words, which is even more evident in Keiichi Hara's subsequent production of "Unexpected Lucky Draw". Hara Keiichi deliberately arranged a large number of eating scenes in the film, and these eating scenes also gave Hara Keiichi room to play.
The delicate acting skills of the characters, the slight adjustment of the tones, and the clever use of music all make these shots express different emotions
This simple way of performing also extends another feature of Keiichi Hara, which is the acting skills of very realistic characters and body expressions.
The widespread use of fixed shots in animation is a great test of the hard strength of the production team, because many characters and body movement errors in the camera may be ignored by the audience, but if the camera is fixed, the only active character in the picture will become the focus of the audience.
And the use of fixed lenses on a large scale in animation will put forward higher standards for the performance ability of the supervisor and the ability of the original artist. If the production staff is not strong enough to make the animated characters dull or exaggerated, it will be easy to make the audience disgusted. Therefore, fixed shots will definitely require the characters to be vivid, and Keiichi Hara and his painting team have indeed done this.
True and vivid acting skills, painting as Inoue Toshiyuki
Of course, Keiichi Hara has not always prevented the camera from moving, and in his latest work "Hundred Days of Red", there is a very intense background animation.
However, the reason for choosing the background animation is still very Keiichi Hara, who believes that the background animation is very chronological and complements the shogunate era in which the story of The Hundred Days Takes Place. Nostalgic elements, nostalgic expressions, nostalgic stories, this is very original Keiichi.
After leaving the crayon Koshin, the three works of "Kappa Summer", "Unexpected Lucky Sign" and "Hundred Days Red" all share the characteristics of Keiichi Hara, the soundtrack of the Showa era, the warm humanistic care, the meticulous acting skills of the characters, the nostalgia for the past era and the simple performance technique.
These characteristics make Keiichi Hara's animated films incompatible with mainstream commercial animation, but it is precisely these characteristics that make his works more and more delicious like mellow old wine.
Whether you like it or not, it's like an overly mellow old wine, I think Keiichi Hara's work is worth seeing, because there are fewer and fewer literary and simple "storytellers" like Hara Keiichi. In a gentle tone, he tells the beautiful times he misses, as well as those touching and ordinary stories. If you want to know more about Keiichi Hara's works, you can reply to [Keiichi Hara] in the background.
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