| _version_ | 1866901198665154560 |
|---|---|
| author | KRAUS, GÉRARD |
| author_facet | KRAUS, GÉRARD |
| contents | <p><span>Mamoru Oshii’s </span><span>Avalon </span><span>stands firmly engrained in the director’s science fiction oeuvre of completely visually controlled films, focusing on a strong female protagonist shown in critical situations. At the same time the film marks Oshii’s return to live action cinema and takes him outside of Asia. This essay seeks to combine biographical information on the director with an aesthetic analysis of some of the images created for the purpose of this film. In particular the essay addresses Oshii’s interests in the relations between futuristic<br>technologies and militarised societies, and his use of Polish and Eastern European imagery. I will argue that their combination can be seen as remediating and recontextualising images of war and conflict for a new generation that, through digital media, has developed a new dynamic relationship with history and the conflicts that build Europe and the world.</span> </p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_14712176 |
| institution | Zenodo |
| language | |
| publishDate | 2010 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | Deadly Game along the Wistula: East European Imagery in Mamoru Oshii's Avalon (2001) KRAUS, GÉRARD <p><span>Mamoru Oshii’s </span><span>Avalon </span><span>stands firmly engrained in the director’s science fiction oeuvre of completely visually controlled films, focusing on a strong female protagonist shown in critical situations. At the same time the film marks Oshii’s return to live action cinema and takes him outside of Asia. This essay seeks to combine biographical information on the director with an aesthetic analysis of some of the images created for the purpose of this film. In particular the essay addresses Oshii’s interests in the relations between futuristic<br>technologies and militarised societies, and his use of Polish and Eastern European imagery. I will argue that their combination can be seen as remediating and recontextualising images of war and conflict for a new generation that, through digital media, has developed a new dynamic relationship with history and the conflicts that build Europe and the world.</span> </p> |
| title | Deadly Game along the Wistula: East European Imagery in Mamoru Oshii's Avalon (2001) |
| url | https://doi.org/10.5281/zenodo.14712176 |