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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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Sur Imagination et Invention de Gilbert Simondon
Tatsuro USAMI
2018 Volume 69 Issue 2 Pages
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Rear projection is one of the most frequently used compositing techniques in
Hollywood cinema from the 1930s to the late 1960s. Nevertheless, this technique has
been hitherto underestimated. Of the scarce existing research, some studies have
pointed out the economic advantages of it in terms of the studio system of the day, while
others have examined it in the limited context of certain films or film directors. But
such approaches have not paid sufficient attention to the fact that the many films had
used the technique in spite of harsh criticism regarding the resultant image quality.
This paper aims to clarify in part how the images created through rear projection were
interpreted by the audiences of the time. The images were surely lacking in terms of
the “reality” pursued by classical Hollywood cinema. However, the audiences were able
to understand the mechanism of rear projection and experience its effects in a mode
separate to that supposed by the classical Hollywood cinema. By analyzing a moving
vehicle scene, I demonstrate how the gap created between foreground and background
in the images re-arouses wonder in the audience, allowing them to enjoy the medium of
cinema as a visceral attraction.
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Auditory Spacing and Body in Listening to Other’s Singing Voice
Ayako HORIUCHI
2018 Volume 69 Issue 2 Pages
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This paper examines the phenomenon in which a listener perceives other’s singing
voice through his/ her own physical presence originated from the listener’s singing
body. This analysis focuses on the features similar to auscultation, one of the medical
practices, in the listening process, and considers the auditory spacing and its relation
with the listener’s body. Auditory perception, in contrast to visual perception, has been
described as a passive sense because it is impossible to close our ears the way we close
our eyes. However, this study seeks to demonstrate that listening to singing voice is
means of active inquiry and there are subjective behaviors in the listening process.
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An Examination of the Japanese Term Irezumi (Tattoo), Its Usage in the Japanese Language, and Its ‘Costume’ Aspect
Noriyuki HIRAI
2018 Volume 69 Issue 2 Pages
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This paper examines the Japanese term irezumi which signifies tattoo. From ancient
times, irezumi has also been called horimono (something that has been carved) in
Japan. However, neither does irezumi imply to carve the body, nor can it be equated to
sculpture. It has often been referred to as ‘painting on skin’. However, irezumi is not the
art of drawing or painting on the skin. It is distinct from that.
The above examples are words which express irezumi, but none of them are, strictly
speaking, appropriate terminology. Irezumi involves the piercing of skin with a needle,
and a needle is used to sew cloth, not to ‘carve’ into or draw on something.
How, then, did irezumi come to be called horimono (sculpture)?
This study examines the ambiguity of the term irezumi by documenting it in
manuscripts dating from the beginning of the modern times to the Meiji period. This
study also explores the aspect of costume that the term appears to articulate.
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On Multi-Layered Images Created through Rear Projection
Satoshi OSAKI
2018 Volume 69 Issue 2 Pages
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Rear projection is one of the most frequently used compositing techniques in
Hollywood cinema from the 1930s to the late 1960s. Nevertheless, this technique has
been hitherto underestimated. Of the scarce existing research, some studies have
pointed out the economic advantages of it in terms of the studio system of the day, while
others have examined it in the limited context of certain films or film directors. But
such approaches have not paid sufficient attention to the fact that the many films had
used the technique in spite of harsh criticism regarding the resultant image quality.
This paper aims to clarify in part how the images created through rear projection were
interpreted by the audiences of the time. The images were surely lacking in terms of
the “reality” pursued by classical Hollywood cinema. However, the audiences were able
to understand the mechanism of rear projection and experience its effects in a mode
separate to that supposed by the classical Hollywood cinema. By analyzing a moving
vehicle scene, I demonstrate how the gap created between foreground and background
in the images re-arouses wonder in the audience, allowing them to enjoy the medium of
cinema as a visceral attraction.
View full abstract
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About Apichatpong Weerasethakul’s Phantoms of Nabua
Norihiko NAKAMURA
2018 Volume 69 Issue 2 Pages
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In this thesis, I discuss the projected-image practices of Thai filmmaker, Apichatpong
Weerasethakul. Above all, his practices have been derived largely from his projectedimage
practice, mainly by Ji-hoon Kim. Although these deal with Apichatpong’s
projected-image practices in the framework of “cinematic” video installation, he only
analyzes feature films so as to derive the characteristics of Apichatpong’s works from
them. For this reason, previous research has overlooked his practices wherein the
different elements of projected image/screen/viewer are intertwined.
I examine the discussion of “cinematic” video installation, which is based on the
preceding research, including the relationship between exhibition space and viewers
by considering the installation work Phantoms of Nabua. This work attempts to
contest the exhibition space and the local (Nabua village in Northeast Thailand). By
intertwining multiple light sources/projected images/screens of this work, the viewer
in the exhibition space is virtually placed in the local “site.” In this way, the viewer’s
“decentralization” is promoted. Furthermore, by casting projection lights on the
viewers, they appear as ghosts. Apichatpong’s practices are to reveal the presentation/
representation between cinema and installation. Finally, the overlapping of the “site”
and ghosting of the viewer, allow for a reconsideration of the viewer him/herself in the
installation art.
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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2018 Volume 69 Issue 2 Pages
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