January 8th, 2015
— Iain Macintosh (@iainmacintosh) June 28, 2014
— Iain Macintosh (@iainmacintosh) June 28, 2014
[…] Grave of the Fireflies and My Neighbor Totoro were released together as a double feature. Target audience: ?
I can't imagine any way to sit through that pairing without ending up a sobbing wreck. One poster said that Totoro played second, possibly in an attempt to lift the audience's spirits after Fireflies had stomped them into the ground. Me, I doubt that even the appearance of a real-life catbus could make me feel good in the wake of the gut-punch Grave of the Fireflies delivers.
TOKYO – Most people know Studio Ghibli as the Japanese film house behind animated hits such as 'Spirited Away,' about a girl trapped in a supernatural bath house, and 'My Neighbor Totoro,' featuring a giant raccoon-like creature.
But among Japan's stock and currency traders, Ghibli has a darker association.
Once every few weeks [NTK…] airs a Ghibli movie in the prime Friday evening spot. During the trading session after that, market veterans say, bad things happen.
Yen watchers expect the worst when a Ghibli flick airs at the same time that nonfarm payroll data is released in the U.S. […] In eight of the past nine such convergences, the data came in weak. In seven of those cases, the dollar tanked versus the yen and Japanese stocks fell. […]
Someone please remind me why news programmes listen so respectfully to analysts from major financial institutions…
[Via The Morning News]
Miyazaki has pulled out all the stops. The film is of immense length: 126 minutes of hand-drawn animation. It tackles huge, challenging subjects: the 1923 Great Kanto Eartquake, the Great Depression and the march to global war. In addition to securing for the nth time a score by Hisaishi Jo, Japan's greatest living composer, Miyazaki roped in Matsutoya Yumi (a.k.a. Yuming) to provide the theme song. He coaxed his colorist of 50 years to come out of retirement for this one last film.
And the subject of the first Miyazaki film about a real person: the life of Horikoshi Jiro, the designer of the Mitsubishi A6M, the Zero fighter.
Not subject matter I'd have expected from Miyazaki, but judging by this (Japanese language) trailer the resulting film is every bit as good-looking as anything we've seen from him lately. We'll see how the story turns out in due course, but for now it's looking promising.
Imagine what would happen if a huge wooden spaceship full of laughing paedophiles landed in the centre of Hyde Park during a snow storm, and a mob turning up clutching flaming torches to dish out some instant justice. It looked like that – but conducted amid an air of good-natured, drink-fuelled insanity.
The story of what's actually happening is almost as strange, and makes for a pretty entertaining read.
After a mini-marathon of Godzilla movies, William Moss puts forward the theory that Godzilla has finally encountered a nigh on invincible foe:
[No city…] has ascended the Olympian heights of popular culture until it has been ravaged by a giant monster. Tokyo is clearly way out in front in this regard. It's taken for granted that monsters are drawn to Tokyo like frat boys to Jaeger shots. Monsters have also afflicted New York, London, San Francisco, Seoul, Paris, Rome, Los Angeles and even Bangkok (look it up). But as far as I can tell, Beijing has been blissfully free of giant monsters. Mothra was reported to be attacking Beijing in "Destroy All Monsters," but it was never shown on screen, so it doesn't count. Neither does "Mighty Peking Man," which was made by the Shaw Brothers while Hong Kong was still British and, despite the name, had no action in Peking (the Chinese name was "Gorilla King").
Why hasn't there been a Chinese giant-monster film with a Chinese giant monster? While armies, police forces and parliaments have crumbled before Godzilla and his brethren, there is one bureaucracy that is apparently entirely impervious to giant monsters: the State Administration for Radio, Film and Television. SARFT has apparently erected a monster-proof shield around Beijing and indeed around all Chinese cities. This is not because giant monsters are particularly scary, obscene or conducive to social unrest. It is because they are politically unacceptable. […]
This visualization of how Twitter users reacted to Japan's 2011 earthquake acts as a small-scale companion piece to the visualisation of a year's worth of earthquakes I posted the other week.
It's one thing to be intellectually aware of the fact that there are thousands of medium-to-large magnitude earthquakes around the world each year, quite another to see their frequency, magnitude and location plotted in animated form, in great detail. It brings home just how fortunate I am to be living on a small, geologically stable island nation off the coast of the continent of Europe.
[Via Chocolate and Vodka]
[Via BERG Blog]