Posts Tagged ‘akira kurosawa’

Oldboy

Tuesday, March 3rd, 2009

oldboy

Oldboy
2003, 120 minutes
directed by: Park Chan-wook

Oldboy, a film from South Korean director Park Chan-wook, was a film powerful enough to generate two immense waves of infamy and notoriety. The first came when the film premiered at the Cannes Film Festival, where the jury, chaired by Quentin Tarantino, awarded Oldboy the Grand Prix, which led to a cavalcade of praise for the film as being the preeminent film in a new wave of significant South Korean films. South Korea, as anyone who owns a LG cellphone, Samsung television, or Hyundai car, or has looked around the graduate school studios lately, is well aware of South Korea’s burgeoning economic and cultural development. In a way, the critical reception to Oldboy as a significant film was essentially a ratification of the international importance of South Korea; for we know today that the most important exports of any country are not necessarily its economic products, but its cultural products. The ability of a country to successfully export its ideas and images is essentially what distinguishes First World countries from others.

From The New Yorker

From The New Yorker

The second wave of publicity for Oldboy came in the spring of 2007, when someone drew parallels between the violence in this South Korean film to the South Korean background of the perpetrator of the Virginia Tech shooting. The idea that media is responsible for violence seemingly has its own specific historiography, from Mark David Chapman’s Catcher in the Rye, John Hinckley’s Taxi Driver, Charles Manson and the Beatles, to the Columbine killers and the music of Marilyn Manson. Nevertheless, Oldboy is certainly spectacularly violent, to a level literally unacceptable in America, as evidenced in one of the tamer scenes where the main actor, Choi Min-sik, eats a live octopus on camera.

old-boy-give-me-something-alive

There is one thing I wanted to note about this movie, and it relates to the previous post about Grand Theft Auto. In one scene, the way the camera and the actors move through space, as far as I’m aware,  is fairly original. Or, I should say, fairly original for a movie. A clip of the scene is embedded below, and as the scene unfolds, the camera scrolls across the space horizontally. This may feel uncanny to some of you, and if it does, it may be because this type of tracking shot and space is very distinctly the space of video games from the 1990s (Double Dragon for the NES is a good example of this type of side-scrolling video game space). Space is practically two-dimensional, and it was a result of the limitations of the computer science at the time. It was space as a result of a technological handicap. However, to create this kind of space cinematographically requires an incredible amount of planning, building, and executing. Imagine the set that was built for this scene!

There have been other movies since that used a similar style of ‘side scrolling’ cinematography, most notably Zack Snyder in 300. It’s odd, because in the past, video game designers have always imitated film directors. The first video games to attempt cinematographical space and movement stole directly from Akira Kurosawa’s films (I’m thinking of the Final Fantasy games here in particular). But as video games have expanded their abilities to describe and conceptualize space, it seems like film directors have started imitating video games.

For many reasons, Oldboy is a film that has generated a lot of dialogue, and serves as a great introduction to this film architecture series and the cinema of South Korea.

The Future is Asian

Monday, February 16th, 2009

Poster_Spring2008

This next theme for this blog’s Film Architecture series is “The Future is Asian,” and will review a selection of films from various East Asian countries in an exploration of the cinematic products of a region of the world experiencing rapid economic and cultural change. Cities are being designed, developed and built at a heretofore unprecedented size and scale in Asia; it is a scale of architecture and planning for which we have as yet no theories. It is the missing XXL in Rem’s compendium of scales; it is the asymptotic limit to which no European dogma has a response. Right now, we have no criteria or ideas by which to judge, critique, or evaluate what is going on in the East. To put it academically, nobody knows what to say about Asia.

This selection of films, then, will attempt to survey the culture-scape of certain East Asia countries through their films—a contemporary medium which traffics their images, projections, fears, ideas, and narratives. Certain cinematic themes and tendencies are starting to emerge from Asian films which are having a broader impact upon the world than the previous generation of Asian films. Akira Kurosawa, for instance, was critically canonized but never really broadly imitated here in America; whereas 2007’s Academy Award for Best Picture went to an Asian film remade by Martin Scorsese (The Departed was a direct remake of Hong Kong filmmaker Andy Lau’s Infernal Affairs), and the current spate of horror and suspense films such as The Ring, The Grudge, One Missed Call, the Saw or the Hostel series are all either directly influenced by or literal remakes of Asian films. Accordingly, one focus of this semester’s theme will be on what has been loosely dubbed “Asian Extreme” films. These are films that have a level of violence—emotional, physical, sexual, or otherwise—which has surpassed anything imagined anywhere else. To anyone who has experienced the machinic orderliness of Tokyo to the “anything-goes” atmosphere of Seoul, these are the cultures which have been exporting the ideas and imagination that shapes the way the cities of tomorrow will be materialized. As architects, our responsibility is to shape the future of the built environment with our ideas, our skills, and our judgment. As such, it’s important that we give more than a passing glance towards Asia. The past is European. The future is Asian.