Although it is not intended to praise another by losing one film, but also dealing with the theme of war, dunkirk (from the title of the Chinese film can glimpse the overall social atmosphere of the national relations feelings) first through the adaptation of this historical fact and roundabout praise for great Americanism (no wonder it won one side of the praise in the United States), and then under the premise of the whole film focusing on the form, by eliminating or emptying the time and empty coordinates, dunkirk finally became only Nolan (christophe Nolan) is the object of consumption under the obsession with his misplaced narrative experiment. This is why talking about Dunkerk without talking about form is almost equivalent to not talking about it. Like many masterpieces, the film is "form is content", and presumably with this, Nolan ostensibly seems to have reached the height of his idols such as alain resnais.
In contrast, it is likely that the mistranslation of the ideology type, as well as the positioning of the film, the later animated film "In the Corner of the World" (この世の片隅に, Taiwan translation: Thank you, find me in the corner of the world) is likely to be ignored, or misunderstood, and then disappear in front of the audience; but in fact, this film is a deeper way to reflect on the war to a certain extent, and there is still a very elaborate plan in form, to be fair, the viewing process can be said to be thrilling, But this is not because we all know the end of the war, but the beauty of the form that keeps pouring in.
However, there is an inherent difficulty in talking about "In This Corner of the World", which lies in the inseparable relationship between the animated film and the original manga. Some veteran animation fans pointed out that "In the Corner of the World" director Katafumi Suzuna has always belonged to the hired director, filming TV animation, there is no personality, after he reminded him, he recalled the previous work "New Son and Millennium Magic" (マイマイ新子と千年の magic). Although both films do have a certain fragmentation and elegance - it seems that this is the style of the film, perhaps it feels homogeneous with the manga.
However, the reason why we can't associate "Corner of the World" with "New Son" is probably because "In this Corner of the World" does reflect reflexively on the material characteristics of animation and painting through some techniques. This point has been presented in the manga, and has even become one of the most important cores, so the setting of the heroine Suzu as a painting enthusiast can be said to be carefully arranged. There is a dud explosion at exactly two-thirds of the way through the film, which breaks Suzu's right hand and her sister-in-law, who was holding her right hand at the time, and it is said that in the original manga, since then, manga artist Shidai Kono has basically used his left hand to draw the background of most of the subsequent pictures, so it seems that the lines are distorted and the images are not correct enough, in response to Suzu's words "(The abnormal person is me) is almost like the world drawn with his left hand", The result is that the images behind are distorted and make it difficult to judge whether it is an objective reality or the subjective world of the bell.
However, in the face of Kono's obsessive "performance art", Katabuchi may have undergone a lot of pressure in the adaptation, and then generated motivation: just let the film also have a reflexive treatment! This is also why, shortly after the opening of the film, there is a scene in which Suzu is stupidly taken away by a human trafficker, which is told in the manga like some other ordinary day that seems to have been inadvertently recorded, but in the film, it is changed to a story that Suzu draws to his sister Cheng in the form of a comic strip. Or there is a scene that is undoubtedly impressive: in the eyes of his classmates, the rough Mizuhara classmates can't draw sketching homework by the seaside, Suzu met him when he came to pick up dead leaves, and by the way, he completed his homework for him, in the manga, by fusing his hands with the frame, he implied a duality that was both inside the narrative and outside the narrative, and in the end, Both Suwon and Suzuhara became part of the painting; but in the film, Suwon finally entered the painting, but Suzu was separated from the texture of the picture where Mizuhara was located with the texture of the animation. It is more or less a symbol of Suzu's inability to enter the world in which Suwon lived, whether it was his emotions or his connection to the world (his brother died in shipwreck; and after seeing the painting that Suzu helped him draw, he said, "He can't hate the sea", and finally he became a navy. Suzu's brother died in the war).
In adapting the original manga into an anime, Katabuchi digested Kono's form and then added his own understanding to become this anime that is said to be equally singable during the preparation process.
Therefore, Katabuchi deliberately treats moving images with a brushstroke (number of squares) that does not look very smooth, which is likely to bring discomfort to those who are accustomed to Ghibli animation, but this, or the setting of finding "Little Haenyeo" to be the voice of Suzu Na to be Suzu, actually helps to increase Suzu's feeling of "natural stay", and this point is probably to make the spirit of the japanese people who are still trying to live an ordinary life under the war, do the most extreme condensation; but unlike "Mr. Almost", "Miss Natural Stay" is very caring and curious about the world, and such a positive image probably annoys audiences in areas affected by Japan during World War II.
However, whether it is this one or a random World War II film like this, it will eventually become a visual spectacle first because of the difference in time and space background, and secondly, if it is depicted too dreamily (such as "Wind Rise") (such as "Wind Rise") will be criticized as glorifying war, and depicting too much pain (such as "Firefly's Tomb" (such as "Firefly Tomb") may mislead the defeated country's kind of sympathy (but at least because it is very sad, so it is less condemned); as for "Corner of the World", it is considered to be in the middle, It may have been less reproached, but because the film retains Suzu after hearing the emperor's declaration of surrender in the "Tamaki Broadcast" (it is said that this is also the first time most people have heard the voice of the god-like emperor), "Didn't you say that you were going to fight until the last one left?!" The accusation, and the smear of this film (or story) is a glorification of war. However, this sentence not only shows the helplessness of the people (hypnotized in ignorance), but also places it in the realistic psychology of these people (who are not exceptional victims): these sacrifices are not for a certain belief that they may not be able to imagine correctly, and once this belief is broken, they cannot face all loss.
However, Katabuchi is not deeply moved by the original work, ren image becomes the dynamic of the original work, as the previous example, after internalizing the spirit of the original work, he basically agrees with the reflexive thinking about the material in the form of the original work. So in the film, in addition to the pane of a door hanging from a tree, some important moments in Suzu's life are placed with the texture of a movie screening, especially some of her childhood memories in her hometown of Hiroshima, because this door fell after the atomic bomb was dropped on Hiroshima, perhaps from her hometown. In the moment when the bell breaks his hand, he quotes the form of the work of the famous Canadian artist Norman Mclaren, especially the "blinkity blank" that François truffaut praised as "absolutely unique, unlike any film in the past sixty years", which is an experimental animated short film that McColaren painted directly on the negatives. Didn't you take the opportunity to combine hand-drawn, animation and film in a profound way?
Unlike "Dunkirk" which tries to praise the United States that later joined and won the final victory by really beautifying the war at the end, "Corner of the World", although it also gives a seemingly good ending, there are also people who feel "gloomy" about the ending, which is very reasonable: a girl who was led by a severed hand mother with great willpower to the vicinity of Hiroshima Station, after the death of her mother, she finally floated to the side of Suzu who returned to her hometown to visit, because of Suzu's broken hand and empathized with her mother's projection. Finally ( hinted at as infertile ) Bell takes her home and makes her the daughter of "Everyone" – her appearance in response to the title of the work , "In This Corner of the World." This ending certainly has a positive symbol, but it is in this "everyday all-in-a-very", or "very everyday", that there is no doubt that the real effect of war on man is seen; not just the very one who crouches down in the rain of bullets and bullets and never finds a gap to squat (and without any suspense that no one will care where it goes).
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