>>64654111 Asking about good Japanese movies is like asking about good American movies. They can't all be listed. >>64654278 >>64654345 Koreeda, Sono, Kurosawa, Nakashima, Yoji Yamada, Shinji Aoyama, Tsukamoto, Naomi Kawase, etc. are still going strong. It's not comparable to golden age Japanese cinema because nothing is.
>>64655556 Yeah I'm not going to go in circles with some child that calls this a valid argument: >Nice try. The Assassin was shit. Their cinema is derivative of early Japanese works. They are playing catch-up.
>>64655822 I'm trying to say that The Assassin is nothing like the films you mentioned. And by the way, you listed films made in Taiwan and China, so this >Their cinema is derivative of early Japanese works. They are playing catch-up. doesn't make much sense.
>>64655878 I am still confused as to what you are doing? Han actors = Taiwanese work? Okay? Ang Lee is also American. Doesn't make it an American piece of work.
>doesn't make much sense. These are chinese movies made in the early 2000's, they are culturally specific to China. Obviously you don't expect The Assassin to be the whole of Taiwanese cinema do you? Is The Assassin the only movie you have seen to come from Taiwan or something?
This and that argument aren't even similar, I thought you and I were talking about chinese kung-fu movies?
If you want to talk about how their cinema isn't like that of early Japanese works bring up some other directors.
>>64656050 I think you're confusing me with someone. I'm saying that Chinese (Taiwan and mainland China) films are not like Japanese films, and nowadays are in fact better than modern Japanese films. Assassin isn't even a kung-fu movie.
>>64655093 What some people like the Midnight Eye crew and Mark Schilling have said is that Japanese mainstream cinema has turned into safe, cookie cutter movies literally designed by committee, and on the other side of the spectrum there's shoestring budget indie movies. And there's too little stuff that doesn't fall into either category, which is the problem.
I don't really know since I haven't kept up with live action movies in years.
>>64656260 >deep So you watch movies for "deep" themes? lol
>Style over substance is a fallacy Of course it is. Why do you think all the critics praised Under the Skin? Film is a medium that uses images and audio to make us feel something. Themes and plot are very often irrelevant.
Once the people in charge realized how much they could capitilize on movies, in most nations, movies went to shit. It's a problem all movies face nowadays, I hate to be that guy, but look at TFA. Safe and cookie cutter.
>>64655171 isn't the thread circle jerking to early japanese cinema, and deriding modern japanese cinema? so to be derivative of the best era is to be good. Modern jap crap is terrible, even Miike is stuck making sequels and Kitano has been quoted as saying the japanese industry is in terrible shape.
>>64656318 This is what Midnight Eye said: http://www.midnighteye.com/features/reflections-in-a-midnight-eye/ >The situation today is much less dynamic. Filmmaking in Japan has largely polarised, with very high budgets (by Japanese standards, i.e. US$ 10 million or a multiple of it) on the one extreme and no-budget indie (or amateur) filmmaking on the other. Films in the former category seek to emulate the Hollywood blockbuster formula and are produced by "film committees": consortia of production partners, the majority being television stations, advertising agencies and talent agencies rather than traditional film production companies. Each partner has a stake and a say in the filmmaking and the result more often than not literally comes across as something made by committee rather than artistic vision. It is a type of filmmaking that takes no chances: all the stories are based on hit properties (TV series, manga, novels) and the lead actors are pop musicians or TV talento, while the important share of media companies in the production committees is resulting in self-censorship and/or conservative political stances in line with the policies of Shinzo Abe’s government.
>They [indie directors] can't go professional either, because there is simply no room for them in the industry: since the collapse of the video and DVD market medium-budget productions have to all intents and purposes vanished, while the production committees of the high-budget films prefer to hire someone of whom they can be sure, which means either a TV director familiar to the network that has a stake in the production or an experienced hand like Takashi Miike or Yukihiko Tsutsumi who already has a track record making hits.
>>64656431 >>practical effect Did you miss The Hobbit CGI backlash? Making a movie using practical effects isn't a risk at all, so long as production costs are within margins..
>>one long action sequence in the era of Nolanesque middlebrow action flicks What? Oldboy, a movie famous, for a long shot was re-done in America 2013, Daredevil had a long take. Long takes aren't a risk, what?
>>Max as the secondary character I was under the impression max was always a secondary character.
>>64656487 How is that any different than American movies, except there are more 'mainstream' directors?
Do you actually think studios hand over hundreds of millions of dollars and just say "K, go!"?
While yes, I can't really, myself commentate on the actual state of the Japanese movie industry as I dont live or work there. I can say how ever they are still making worthwhile movies.
Pic related is a late 2014 release. I know there is a lot of anim shit, there is still a lot of good though. I really don't see any of what they are afraid of in that quote in this movie either, when I think about it.
>>64656548 >And yet, other blockbusters don't do this. At least not when it comes to stunts. Because that's a choice the director makes?
>>64656548 >What long take? What are you even talking about? Oh you mean the fact that it 'doesn't stop', I miss read your post. My bad. This is literally the only 'risk' they took. Doesn't make it a very radical film.
>Well, you were wrong. You haven't seen them, have you? Max is always more of a side character, than the actual protagonist.
>>64656471 Maybe studios just don't care, and will settle for "good enough." I'm sure they could produce much better work than this if they really wanted to.
I don't know why this one guy is defending Japanese 3DCG so much. Because it really is shit. But saying that doesn't invalidate the whole movie industry or all Japanese creative industries. It's just something they don't do well. They do other things better.
>>64656605 I think Hollywood does take more chances.
And the criticism isn't that no good mainstream movies are being made anymore, but that conditions have generally deteriorated.
Why do modern Japanese movies feel like very overt commercials for talent agencies? The movies feel like nothing but vehicles to sell me a soundtrack that's probably done by the star of the movie, or whatever. There's no art. Capeshit and bollywood feel tame compared to these movies. What is wrong with Japan?
>>64657057 Well that Midnight Eye article I linked to earlier talks about that. They are literally designed by a committee that wants to sell stuff other than the movie. TV dramas have had similar problems. Still, good movies and dramas can be made even under these circumstances. But they aren't good circumstances.
>>64657248 Modern anime seems bad to most people because in the past they only saw a tiny sliver of anime that was carefully picked and localized for them by TV networks. Now all anime is trivially available as soon as it airs in Japan, the amount of TV anime being produced has increased tremendously since the 90s, and everyone is on the web so information travels easily. So now people are coming into contact with ALL anime, not just the couple that American TV networks deemed worthy. A lot of this anime is simply not compatible with Western preferences, whether or not it's good.
Then there's the problem that most people just sit around waiting for someone or something to spoonfeed them anime, so all they know about the state of modern anime is what other people tell them. But those people don't know anything either, and have developed all kinds of misunderstandings and myths that they repeat to each other as fact. Even something as simple as looking at a season chart to find out what's airing is done by very few people.
>>64657438 >>meanwhile in the media capital of the world.... You understand what you are saying right? There is usually a good mix of national's, I.E America doesn't produce CGI artists, they buy them.
You should look up WETA, not Asian, but also, not American.
>>64657191 Wow, I didn't know Midnight Eye shuttered. I have a couple books from their guys and they definitely fostered my interest in Japanese cinema early on. I don't know a lot about the current movie landscape in Japan and that brief article doesn't really elaborate on how it got to this place. I noticed the same shit with regards to dramas (though that's a much easier pill to swallow than their filmmaking fall from grace) and comedy, and I'm guessing it extends to other mediums as well. I'm assuming there's something very systemic here so can you or some educated weeb give me reading materials
>>64657630 I originally compiled it as a counter-point to the many, many people who are convinced that there is almost no anime being made today that isn't of the moe and harem variety. Of course that isn't true.
Almost all the shows on that list are late night anime, i.e. they air late at night, i.e. they are not made with children in mind. "Bland artstyle" is a completely meaningless criticism.
>>64657637 I don't know either. I haven't kept up with Japanese cinema in years and I was never particularly knowledgeable about the industry.
Here's the pasta. This isn't every film but rather a list that will give you a sense of Japanese cinema's progression. I was Born, but... - Ozu Yasujiro (1932) The Story of the Last Chrysanthemums - Mizoguchi Kenji (1936) Army - Kinoshita Keisuke (1944) Late Spring - Ozu Yasujiro (1949) Rashamon - Kurosawa Akira (1950) Sansho The Bailiff - Mizoguchi Kenji (1954) Crazed Fruit - Nakahira Ko (1956) Black River - Kobayashi Masaki (1956) The Ballad of Narayama - Kinoshita Keisuke (1958) The Warped Ones - Kurahara Koreyoshi (1960) Cruel Story of Youth - Oshima Nagisa (1960) Yojimbo - Kurosawa Akira (1961) Harakiri - Kobayashi Masaki (1962) Youth of the Beast - Suzuki Seijun (1963) Pale Flower - Sinoda Masahiro (1964) Woman in the Dunes - Teshigahara Hiroshi (1964) Branded to Kill - Suzuki Seijun Profound Desire of the Gods - Imamura Shohei (1968) Death By Hanging - Oshima Nagisa (1968) Heroic Purgatory - Yoshida Yoshishige (1970) The Ceremony - Oshima Nagisa (1971) Coup D'etat - Yoshida Yoshishige (1973) Empire of Passion - Oshima Nagisa (1978) Vengeance is Mine - Imamura Shohei (1979) Ballad of Narayama - Imamura Shohei (1983) Ran - Kurosawa Akira (1985) Madadayo - Kurosawa Akira (1993) Sonatine - Kitano Takeshi (1993)
>>64657891 Again, that's just how it's been developed in America. And you're assuming, as a result, that that's what animation is inherently, necessarily like. Which is irrational and untrue. Japan's animation industry is completely different from America's. When shows actually intended for children like Sailor Moon and Pokemon were brought to America they had to be censored because of content considered inappropriate for children. When an anime movie intended for children competed at the Berlin International Film Festival, it shared a Golden Bear with Paul Greengrass' Bloody Sunday.
>>64658046 You really don't understand what you're talking about. The new wave was called the new wave for a reason. It came in a wave in 1960. I have placed in the timeline rashomon and crazed fruit, two of the films most influential on the new wave and honestly it's easy to see how the new wave is a reaction to the stoic classicists.
>>64658123 The point is, why would they need to censor anything in animation intended for children? And why was an animated movie intended for children considered on par with Bloody Sunday? Even when an anime is intended for children, it's still too much for American children to handle (according to the powers that be), or good enough that it can share a Golden Bear with a serious live action movie. If a late night anime like Yuri Kuma Arashi was shown to American children on TV, the country would declare a national state of emergency before the opening animation finished playing.
The thing with shows like Simpsons is that they're comedies. And that's the only reason why it's ok for adults to watch them. If Simpsons was serious, it would be considered childish to watch it. Because it's animation, and animation can't be taken seriously by adults. Because that's how animation is made in America. So nearly all American animation falls into three categories: children's animation, family animation, and adult comedy (and the children's animation is much more childish than it is in Japan). Anime on the other hand covers the same spectrum as live action cinema and television, and is made in a similar or identical manner.
>>64658259 Look, I'm sure you're have a glorious shitposting Saturday morning and all but let's cut the bullshit and have you just leave this conversation. You don't have any films to add to the list. You don't have an understanding of most of the films on the list and that's fine. You're being contrarian which is fun but ultimately a vapid exercise.
Let me know if you did have anything of value to say though.
>>64658687 Old.Notice how i said again? Also Rick and morty has massive comercial appeal compared to those two. Archer and Venture brothers do aswell. Fox is trying to go out of their comfort zone with stuff like Major lazer and Golan too,even comedy central threw their hat into the ring with moob beam city (which has gotten better).
>>64658597 Yeah, your response was that people will get confused if I include Jidaigeki and that I should put when a woman ascends the stairs in. When a woman ascends the stairs is fine to add but you need to understand that people are supposed to do research in addition to watching the films. To understand who the directors are and what the influences are. How kinoshita influenced kobayashi and Ozu influenced Imamura. Placing the films within a historical context is vital. You can't watch any set of movies with the movies alone and understand the sweep of what happened. You can see minor trends and techniques but you'll never see the context surrounding the works if you just watch the movies.
>>64658697 There's lots of anime that's oriented towards late teens and adult audiences but with little or no violent or sexual content. Japanese TV is also pretty strict about sexual and violent content. Nipples can't be shown, and violence is often censored. HBO-tier stuff isn't even possible, but in America it's mass entertainment.
>>64658708 No, they are not like anime. They are nothing like anime. American animation and anime couldn't be more different.
>>64658771 >So mature. It's just the title, and actually a bad translation because the original name uses "meet" rather than "pick up." That said, it's not "mature" in the pretentious fedoralord sense, but why does it have to be?
>Oh, and of course robots, super heroes, fantasy, moeshit, make the most of this compilation. What does it matter if something has robots, superheroes or fantasy in it? It doesn't tell us anything about a work. This is just a cop-out.
There's no "moeshit" on the list. The shows were specifically chosen to exclude those types of shows.
>We still don't know if the mature-looking ones are any good. And you never will since you'll never watch any of them. So why are you even trying to review these shows?
>>64659130 America, collectively, didn't do any such thing. Just like Japan, collectively, didn't invest in anime (it's also notorious for being low budget, so you can't really say that much money was invested into it).
Americans simply developed the idea that animation is children's entertainment and shouldn't be taken too seriously. To Disney, animation was little more than a mashup of vaudeville and fairytales. The Japanese decided that animation doesn't have to be any different from live action cinema and television, and that it's a form of art that should be taken seriously. The implications of these decisions are easily seen today.
I really don't think American animation is ever going to substantially improve from where it is today. And in most cases "American animation" is something of a misnomer since the actual animation is done in Asia.
>>64659352 Did you not read my list earlier? There is plenty of adult orienented animation currently airing in america,Sure it may not be like the dozens of genre bending animu that is produced in japan but it is getting better. There simply wasn't an audience for anime before because literally any genre or story type can be found and watched by anyone in live action format. >asia animates most things This trend will be ending soon with more and more americans going to school for design.
>>64659525 Those shows are comedies, equivalent to comic strips, and that's why it's ok for adults to watch them. It's when you watch something like Serial Experiments Lain and take it seriously that people start shitting on you for being a manchild watching children's cartoons. In some ways American animation is just returning to its roots, because (if I'm not mistaken) early cartoons were played in cinemas and were intended for whoever was watching, which was usually adults.
American animation is also severely lacking in the presentation department. The idea of cinematic animation never caught on there, and production values for TV animation are bottom of the barrel (and still outsourced wholesale to Asia).
>There simply wasn't an audience for anime before because literally any genre or story type can be found and watched by anyone in live action format. Americans didn't take animation seriously. That's the fundamental reason why it is the way it is. Anime has, for a long time, featured stories that would be trivial to accomplish in live action, even with Japanese budgets. And there are many, many cases where a manga has been adapted as both an anime and a live action show or movie (The Perfect Insider and Parasyte being recent examples).
>This trend will be ending soon with more and more americans going to school for design. There already was an animation industry in America before. Then there wasn't, because all the work got outsourced (as opposed to being just partially outsourced, like before). Why would anyone hire American animators now?
>>64659954 The list is comprised of shows that aren't moe or harem. People keep complaining that no other kind of anime is made anymore. And usually when someone says modern anime is bad, they mean that it's all moe and harem.
>>64659897 >it is the way it is Changing? It was comedic focused in the past with stuff like Home Movies and The Simpsons and since 2004 it has gradually more science fiction oriented,Even in the Early 2000s we had stuff like clone high,Fuck futurama lasted 9 seasons and Americans loved it. >There already was an animation industry in America before. Then there wasn't There has always been a mix in the industry,IIRC Ren and stimpy,Rugrats,Aventure time are all american studios and i'm sure there are plenty more.It seemed like Fox was the main studio that outsorced but i'm sure if i looked up their new shows like Major lazer and Border town i would find they are done by american studios. >there isnt anything like lain or parasyte because we have the budget to make them for real? with stuff like mr.robot and the strain and soon we will animate them for fags like you.
>>64660237 In the strict sense, a moe anime is something like K-On, and not just anything with cute girls in it. People usually have something like K-On in mind when they use the term, and then jump to conclusions if they see cute girls anywhere. Euphonium for example is often accused of being a K-On clone... by people who never watched it. It's a youth drama like anything you'd see in Japanese live action movies.
>>64660253 Futurama is a cartoonish adult comedy. This is scifi animation: https://www.youtube.com/watch?v=J65fSHPENJk
>because we have the budget to make them for real? There is a live action adaptation of Parasyte. A live action version of Lain wouldn't be particularly expensive. There are live actions adaptations of tons of manga that also have anime adaptations, and there are also a few live action adaptations of anime. It's quite typical of Americans (or Westerners) to think that animation is merely a substitute for live action, and if live action is possible then animation is not needed. That's not how the Japanese see it.
>with stuff like mr.robot and the strain and soon we will animate them for fags like you. That would require taking animation seriously and thinking of it in a cinematic way. I don't see Americans ever doing that.
There is a reason no-one outside Japan watches Japanese TV and not just because of language.
They don't make ONE good TV show.
Their generally racist, isolationist society has led to them being virtually exiled from the rest of the world and their 'culture' has stagnated, reduced itself to tacky memes and even tackier consumerism.
If Japan fell into the sea, in what way would that affect the lives of the majority of the rest of the world?
They contribute nothing and continue spewing out the same crap. A society which is practically a metaphor for extreme autism.
>>64660795 You take the first three lines out and you shallow generalizations would be just as valid for Americans. There's a handful of good shows in a sea of garbage.
>>64660910 God, you are stupid. Just because there's a audience for it doesn't mean it's more successful, his talk about ramification doesn't prove your point. Most live action adaptations don't get anywhere near the same level of success of their animated counterparts.
>>64660795 There are many good Japanese TV dramas, but they can't really compete against American/British shows internationally. Japan hasn't even tried to do so, and it's only very recently that some dramas have become available for streaming on Crunchyroll. Anime of course is an entirely different story.
>Their generally racist, isolationist society has led to them being virtually exiled from the rest of the world and their 'culture' has stagnated, reduced itself to tacky memes and even tackier consumerism. This is a meme. Maybe you should stop taking everything you read on the Internet as gospel.
>If Japan fell into the sea, in what way would that affect the lives of the majority of the rest of the world? Anime, manga and Japanese games have a significant international presence.
>They contribute nothing and continue spewing out the same crap. Isn't it strange how nobody EVER says this about, say, American legal and police dramas? No, it's only ever Japan that does anything repetitive or unoriginal (even when it doesn't).
>>64660910 TV dramas have more viewers, but I don't know if they make more money. Anime still gets made regardless. Even if a live action adaptation already exists or even if there are no practical production reasons why it has to be animated. Animation is not a substitute for live action in Japan.
>Secondly we have made SHIT like those animu movies and they were just as terrible but looked better then anything japan has done because of higher budgets,The last airbender for example. I'm not sure what any of this is supposed to mean.
>>64661477 American TV is awash in medical, legal and police dramas. Cinema is being buried under an avalanche of superhero movies. Anime is in fact more varied and unique than live action TV, partially because it can do things live action can't and partially because it's so eccentric. With cinema it's a different story because, well, it's competing against all of the world's cinema. But even then it does things that you rarely or never see in cinema.
>>64661523 But it's live action. What does it have to do with anything?
>>64661800 Yes, there are medical, legal and police dramas on American TV. And general drama shows. And reality TV. And sitcoms. It's not just Game of Thrones and Walking Dead all day every day. But I guess people like to judge American TV by its best and most unique shows and judge anime by its worst and most repetitive shows, or what they think are the worst and most repetitive shows.
>>64662020 >>64662126 Some dramas that I think are ok/good/great: Aoi Honou, Beach Boys, Cat Street, Deka Wanko, Kekkon Dekinai Otoko, Meitantei no Okite, Mop Girl, Moteki, Nanase Futatabi, Nazotoki wa Dinner no Ato de, Shikaotoko Aoniyoshi, Summer Snow. There are also some heavier, more ambitious shows like Fumo Chitai, Saka no Ue no Kumo and Long Goodbye that I haven't watched but which seem good.
>my sides Animating a space or fantasy adventure or a period drama doesn't cost any more than animating a mundane story about life in contemporary Japan. That's why anime can do things that live action TV either cannot do or can only do occasionally. Anime also has genres and story types that don't exist or effectively don't exist in live action TV, at least not outside of Japan. And, like I said, anime is eccentric. There are a lot of strange shows.
Writer Yoshikazu Okada's best work to date, he weaves a skillful mix of drama and humour around the homey but real characters who gather in a small beachside B&B. In the opening scenes, director Rieko Ishizaka reveals her artistic pretensions through her use of an unsteady handycam and weird saturated colours to set off the flashbacks of our two young heroes, Hiromi Sakurai (Takashi Sorimachi) and Kaito Suzuki (Yutaka Takenouchi). The freeloading Hiromi has been kicked out by his girlfriend Fujiko (Kaori Tsuji), and ends up in a police parking garage after sleeping in his illegally parked tiny white 1985 Renault.
>>64662782 You are taking what I said out of context. I was describing American attitudes towards animation. The logic is that if you are an adult and watch an adult comedy like Simpsons, it's ok because you're not taking it seriously, and it's not intended to be taken seriously. But if you watch something like Lain and take it seriously, you're considered a manchild.
>>64662804 >Why not if it's not true? Did you look at that list? Do you even keep up with movies?
>Well it rarely do these things. Look at the image here: >>64657526
Those are a small selection of shows from last year. Probably over half of them are fantasy or scifi. Even a casual anime viewer should be well aware how much fantasy and scifi shows there are, yet you aren't. Why are you even trying to argue about this?
A story about a talented child actress who wins back her dream after retiring from acting. Keito was once a popular child actress, but she had shut herself away from society for 10 years after a traumatic acting incident. She is now 17 years old and incidentally enrolls to a free school for dropouts where she makes true friends. Together, they build trust and find the meaning of life. The drama is based on a popular comic written by Yoko Kamio.
Sounds typically like unbearable child mentality level shit
Summer Snow is a Japanese television drama that was broadcast from July 7 to September 15, 2000, on TBS. It is a love story between a young man who has been forced to grow up too quickly, and a young woman with an activity-restricting ailment. The title refers to marine snow, which the two promise to see together one day. The series comprises eleven episodes.
Natsuo (Domoto Tsuyoshi) has been looking after his younger brother Jun and sister Chika since the death of their parents. He has also been running the family bicycle shop. Yuki (Hirosue Ryōko) becomes the only person in the world in whom he can confide. For Yuki, Natsuo becomes the catalyst that has her trying to break out of her cocoon.
Cut and paste generic Japanese shit aimed at child minded girls
>>64663008 >>64663110 >>64663196 So you're really going to look up the synopsis of every show I mentioned, and make a separate post about every one of them with some dismissive comment based on nothing more than that synopsis?
It's pretty obvious you've never seen a single Jdrama in your life, and you just assumed they're all shit because you have some bizarre grudge against Japan. And now you're going to "prove" it with this supreme display of autism that doesn't involve watching even a second of Jdramas.
>>64663267 It's pretty obvious you're talking crap. It's also pretty obvious why shows like this, which all sound like children's dramas aimed at little girls, are ignored outside of Japan, in the main.
All are faux-tragic melodramas.
You listed these among the BEST dramas Japan had to offer and they are an embarrassment to drama.
Breaking Bad, Jessica Jones even the pretty awful Game of Thrones obviously shit on these attempts in almost every respect.
If this list is the best they have to offer then it's very clear why they don't have much of an audience outside Japan. No-one would even bother taking these and remaking them in English.
>>64663482 Ok, but that list doesn't have anything to do with what we're talking about. We're talking about the sheer number of superhero movies coming out. Not what critics think about them, or how many people watch them.
Why are you trying to deny this anyway? I never said something like: "There's all these superhero movies coming out, and that's why American cinema is complete shit!" I just pointed out that there's samey stuff made in America too. Why do you find this so threatening?
>So what? You just claimed that anime does not do things that are unfeasible or difficult in live action television.
>Are they good or at least creative? No. Moving the goalposts, and how would you even know anything about whether or not they're good? You didn't even know a very basic fact like there being tons of fantasy and scifi anime. I could also turn this around by asking you if all American TV shows and movies are good (protip: they aren't).
>>64663512 >It's also pretty obvious why shows like this, which all sound like children's dramas aimed at little girls, are ignored outside of Japan, in the main. Except none of them are children's dramas aimed at little girls. You're either stupid or delusional or just randomly making things up to support your desired narrative.
>All are faux-tragic melodramas. Except for Ai Honou, Beach Boys, Deka Wanko, Kekkon Dekinai Otoko, Meitantei no Okite, Moteki, Nazotoki wa Dinner no Ato de, and Shikaotoko Aoniyoshi. The rest--that is, all four of them--could be considered tragic or melodramatic, at least partially.
Here's your faux-tragic melodrama: https://www.youtube.com/watch?v=4tmkm7KB8KU
i cry evrytiem
Also, how exactly are these shows simultaneously children's dramas aimed at little girls AND faux-tragic melodramas?
>You listed these among the BEST dramas Japan had to offer and they are an embarrassment to drama. No, I listed them as dramas that I liked. Nothing more.
>>64663833 yikes that clip could legitimately be any 0 budget amateur youtube video made for fun, and none of the other doramas ive seen were any better. i'm really not a hater but why do they look so awful? is it studio interference or are there no artists involved in tv production there? i can't imagine a small budget would restrict anybody who gave half a shit *that* much
>>64664222 I'll be the first to admit that most Jdramas don't have high production values.
The problem with the Japanese TV industry is that it's controlled by talent agencies. They employ the actors, singers, idols and other talent that TV channels need for ratings. So when they say jump, the channels ask how high. As a result dramas can be just vehicles for the talent who appear in them, and everything else plays second fiddle. Or someone is shoved into a role they shouldn't be in (also, those who belong to powerful agencies have an overwhelming advantage over those who don't). This doesn't of course prevent good shows from being made, and not every drama is made under these circumstances.
The two things most lacking in Jdramas are good direction and production values.
The Japanese film industry doesn't allow room for creatives to be creative. Everything is an assembly line job. The mavericks of their industry are pretty much all in their 40s and older. Are there ANY young Japanese directors who might be part of the next generation, or are they all just gigging with a company policy of no effort or doomed to never leave the atmosphere of some super-obscure independent circle? For real I'd love names so I can somehow give them my support.
>>64657755 you are missing the point being made by some they are not made for children but they do have banal child like stories because they are aimed at CHILD MINDED adults who love that obvious j-crap that is what makes them even worse
>>64658351 you are the contrarian actually chosing to prefer substandard material, from another culture, in another language, which most people in the world don't like and then claiming it is 'better' than stuff people prefer and then claiming anyone who says it's shit is your intellectual inferior. sociopathic behaviour. Isolating yourself in an imaginary superior enclave. dismissing any opposing opinion as the opinion of people who don't have your superior level of understanding. victim mentality. probably blames Western patriarchy for everything
>>64654111 Sure, the problem is that people usually get caught up in the classics and you don't see much other than the obvious ones mentioned. So a lot of movies go unnoticed, some don't even get subs.
The Foreign Duck, the Native Duck and God in a Coin Locker was pretty good for example
Someone mentioned this movie some time ago and I've been obsessing over it for a few days now. I can't find a damn subtitle for it anywhere. It's called Grey Crow and it came out last year, if anyone can lend a hand I would very much appreciate it.
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