JobsComments Off on Job: Program Advisor, Intrax Global Internships
Posted by Sean Pavlik (Fukui-ken, 2010-12), International Programs Officer for the DC-based Congressional Study Group on Japan. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.
Intrax is seeking a Program Advisor, which is a great entry-level opportunity for anyone seeking enrollment + recruitment experience in international and experiential education. The Program Advisor will work out of a home office in IL, MI, IN, MO, MN, TN, TX, FL, GA or VA.
More information about this position can be found below. To apply, please send resume + cover letter to mgr…@intraxinc.com<mailto:mgrant@intraxinc.com>.
___________________________
Company: Intrax (International Training & Exchange)
Job Title: Program Advisor, Intrax Global Internships
Reports to: Regional Internship Director – Southeast + Midwest
Company Description
Intrax is a globally-oriented company that provides a lifetime of high quality educational, work, intern, and volunteer programs that connect people and cultures. Intrax has operations in more than 100 countries worldwide and offers diverse educational and cultural programs including: high school exchange, international au pairs, language classes, volunteer opportunities, leadership programs, and work and internship placements.
Position Summary
The Program Advisor position is responsible for promoting and closing the sale of our outbound programs by working with students, student organizations, universities, and faculty. In this role, the successful candidate will support students through the program application process with the goal of increasing enrollment numbers. This position requires a highly energetic and personable individual who can consistently reach out to the prospective customers and build relationships. Read More
JobsComments Off on Job: Assistant Director with the Washington Ireland Program for Service and Leadership (DC)
Posted by Sean Pavlik (Fukui-ken, 2010-12), International Programs Officer for the DC-based Congressional Study Group on Japan. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.
The Washington-Ireland Program for Service and Leadership (WIP) is a fifteen-month program of personal and professional development that brings outstanding university students from Northern Ireland and the Republic of Ireland to Washington, DC for summer work placements and leadership training. The program begins and ends with practical service in Northern Ireland and Ireland.
In Washington, participants gain first-hand experience of a mature political process and are exposed to a culture of diversity. Through an intense eight-week schedule, WIP participants are formed into a team and challenged to develop their vision for the future of post-conflict Ireland. Students gain invaluable practical experience by completing internships in US government, media, business and non-profit organizations. At the end of the summer, participants return to the island of Ireland with enhanced professional and interpersonal skills, as well as a new confidence in their ability to work together to make a difference. A new component of the 2015 program includes participants completing a substantial service project between August of 2015 and April of 2016. Participants will complete 80 hours of service on a part-time basis, while completing their education or pursuing full-time employment. Read More
“The simplicity of the storyline and illustrations makes it easy for young readers, and also invites parents and children to dive deeper and create their own dialogue and inquisitions.” (Museyon Inc.)
I’m a sucker for the word chan. Seriously. I don’t know what it is; chan is just so endearing and cute and, well, Japanese!! If you’re a chan-aholic like me, get excited, because there is a new children’s book coming your way that is all about the chan!
The beloved children’s book,Kuma-Kuma Chan, the Little Bear, originally written by Kazue Takahashi and published in Japan in 2001, has just been translated into English, republished by Museyon, and will be available in stores and online Dec. 1 (just in time for those stocking stuffer purchases—hoorah!!). This hardcover book is small, about 5” x 7”, with 52 pages of simple-yet-adorable illustrations and minimal text. The story is short and sweet, with Takahashi describing what she imagines Kuma-Kuma Chan to do every day. With each turn of the page, you are greeted with an illustration and a single sentence describing a different chore or activity, such as shopping, gardening (and sometimes hurting his back), and personal hygiene such as, “He trims the nails of his paws. Then he lines up the cut nails and gazes at them.” I mean, come on, that is kind of hilarious.
Film, Reviewsjapanese film festivalComments Off on “The Piano in the Shed” – Film Review from the 18th Japanese Film Festival (Australia and New Zealand)
Eden Law (Fukushima-ken 2010-2014) reviews one of the smaller films of the 18th Japanese Film Festival, “The Piano in the Shed”. The producer Yuto Kitsunai, made a surprise appearance at the screening of this film in Sydney. Created by the people of Kori, Fukushima, this is truly a labour of love.
The Piano in the Shed
“The Piano in the Shed” is a coming-of-age story, centred around Haruka, a final-year senior high school student in the town of Kori, a rural town in Fukushima, in her last summer break during the final years of her senior high school years. Quiet and withdrawn, she is happiest only when playing the family piano in the shed, her place to escape from life and its troubles, which includes the loss of a younger brother, whose death still continues to affect the family, but especially her grandfather, who blames himself for the tragedy. Into all this two further pivotal events occur: her older sister, Akiha, comes back from Tokyo to stay for the summer, stirring up Haruka’s long-held resentment of the attention-seeking, prettier and more popular sibling. The other, far more happier, is the promise of a first romance with Kosuke, recently relocated from the contaminated zone.
There will perhaps be very few other films about Fukushima post 3-11 that wears its heart on its sleeve so openly and earnestly. Like the other film related to Fukushima in this festival, “Homeland”, “The Piano in the Shed” is more focused on telling an emotional story rather than making a critique of the prevailing political and social issues. For the film’s scriptwriter, Hara Misaho, this is clearly a very personal project – both her and the director, Natanai Chiaki, hail from Kori, where the film is set. And by choosing to tell the story from young Haruka’s point of view, they show how the youth can be emotionally affected, just like their elders, forced to cope with the ever present feelings of anxiety and worry that are now an unfortunate part of everyday life. Haruka’s uncertainty about her future after graduation reflects the broader, general uncertainty – for young people like herself from Fukushima, for evacuees like Kosuke and his father, constantly on the move for jobs and shelter, and for the future of farming communities that cannot sell their produce to a frightened and paranoid public, as Tokyo forgets and continues the status quo, while frustrated local councils continue to hold meetings about “reconstruction”, a sloganistic message that seems increasingly pointless and empty.
The human story here, from the aspect how the young are coping with the new reality in the wake of the disaster, is certainly a very compelling one. Other subplots such as Haruka’s family tragedy, and her rivalry with her sister, are less successful or not as well-developed by comparison, and could probably have been dropped in order to make the film feel more cohesive and less derivative. But the young actors are lovely to watch (though at the expense of the adults, who, with the exception of the grandfather, are rather less developed). Yoshine Kyoko is the same age as the character she plays, giving Haruka a level of convincing authenticity to her shyness, and her touching selflessness and unexpected strength for someone so young.
As mentioned, there is no denying the amount of emotional heart and soul poured into this film by its creators. Often included are footage of slice-of-life scenes of the town and its people, whether participating in their annual summer festivals, or going about their daily lives. The film’s ultimate positive note conveys the filmmakers’ message: Kori, and places like it, and the people who live there, should not be forgotten, and they will find a way to endure and survive.
The Piano in the Shed (Monooki no Piano) by Natanai Chiaki, released February 9 2014 in Japan, starring Yoshine Kyoko, Koshino Ena, Hirata Mitsuru, Akama Mariko, Hasegawa Hatsunori, Imai Yuto, Kanda Kaori, Orimoto Junkichi.
JobsComments Off on Job: Director positions – Society for the Promotion of Japanese Animation (Santa Ana, CA)
Via Idealist. Posted by Jayme Tsutsuse(Kyoto-fu, 2013-2014), Community Manager for Be Social Change, the largest social impact community and professional development hub in New York City.. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.
Position: Director positions Posted by: Society for the Promotion of Japanese Animation Location: Santa Ana, CA Type: Full-time
Overview:
The Society for the Promotion of Japanese Animation (SPJA) is a non-profit organization (501 c 6) actively seeking to fill 2 Director level positions. This SPJA is ideal for someone seeking to make a difference in a fan-based community, providing not only operational support to the organization but help promote a positive work environment for both employees and volunteers. Read More
Film, Reviewsjapanese film festivalComments Off on “Lady Maiko” – Film Review from the 18th Japanese Film Festival (Australia and New Zealand)
By Rafael Villadiego (Nagasaki-ken 2010-2013), also available on Green Tea Grafitti.
Maiko wa Laaaaady
A comedic, Broadway-musical reworking of Audrey Hepburn’s classic My Fair Lady, wrapped in the traditional trappings of geisha and maiko regalia. Set amidst a backdrop of a contemporary Kyoto transitioning between the golden recollections of the past and the everyday realities of the present.
Taking place in the unobtrusive little corner of Shimohachiken – that was once an illustrious geisha district in its heyday, but has since fallen on hard times – it still seeks to uphold the old tea house traditions by maintaining at least one maiko in their district. Unfortunately, that maiko, Momoharu (Tabata Tomoko) is pushing 30 and longs to be released from her unfair restrictions and graduate into a true geisha.
Enter Haruko (Kamishiraishi Mone), a naive young country girl with her head full of dreams of becoming a geisha. After discovering a photograph of her late mother dressed as a maiko in her youth and reading Momoharu’s hapless blog, she eventually decides to leave her adoptive grandparents behind and make the journey to Bansuraku Teahouse in Kyoto. But, having no formal introduction or letters of recommendation, and plagued with a backward north-south country bumpkin accent, the odds seem stacked against her.
However, she is taken under the wing of local college linguistic specialist, Professor Kyono (Hasegawa Hiroki) who makes a friendly wager with another regular tea house patron Kitano (Kishibe Ittoku) that he can transform Haruko into a top notch maiko.
What follows is a singing and dancing extravaganza as a colorful cast of characters unfold all the pomp and circumstance of a Broadway musical, with a decidedly Japanese twist.
Veteran director Suo Masayuki of Shall we dance? fame returns to the fore with this whimsical musical confection that is sure to delight fans of musical theater. It is also a fine diversion for linguists of regional Japanese dialects or scholars of traditional geisha culture. In fact, Suo is a dedicated auteur of authenticity who offers delightfully disguised lessons in language, culture and tradition. Approaching his subject matter with gusto and treating it with the utmost reverence and respect – he also shows that he is more than willing to have some fun along the way.
Offering an exuberant display of traditional Japanese dance fused with western Broadway musical sensibilities, the film feels almost like an oxymoron, with its improbable mix of genres and styles. But somehow this unique juxtaposition just seems to work, as it sweeps audiences along on sheer energy and exuberance.
There is one particular musical number which plays perfectly on the classic lines of “The rain in Spain stays mainly in the plain”, but with a Japanese slant that more than makes it its own.
At the heart of this film is a classic underdog story, where if you are willing to try your best and weather the odds, you can overcome whatever comes your way and ultimately succeed. This is Haruko’s story, and we are invited along to share in her journey of discovery as we take a behind-the-scenes glimpse into the rarefied world of geisha and maiko culture.
In this regard, director Suo was fortunate to secure the services of newcomer Kamishiraishi Mone. Beating out 800 other applicants in the Toho Cinderella Contest, 16-year-old Kamishiraishi is quite a find and more than holds her own amongst the veteran cast in the demanding song and dance routines. We glimpse this world for the first time through her bedazzled eyes, with all the characters poised to perfection, the costumes colorfully coiffed and the sets exquisitely appointed.
But despite these elaborate production values, soaring songs and dazzling dance routines, there was just something missing that stopped the film from coming entirely together for me. It is hard to put my finger on exactly what was lacking. I am usually a sucker for a good song and dance, yet something prevented me from being swept off my feet completely. Perhaps the narrative around the musical was not as strong or believable as I would have hoped, to live up to the sheer exuberance on show. A fantastical confection, light as a feather, that possibly lacked the necessary substance to keep it grounded. The eventual low after the high.
Like a dream on waking.
Lady Maiko (Maiko wa Lady) by Suo Masayuki, released September 13 2014 in Japan, starring Kamishiraishi Mone, Hasegawa Hiroki, Fuji Sumiko, Tabata Tomoko, Kusakari Tamiyo.
LifeAfterJETComments Off on Life After JET: The creation of MoshiMosh
Lucy Gibson (Fukuoka, 2007-10) is a co-founder of MoshiMosh, an exciting new language exchange website. Lucy and her husband Kenzo live and run MoshiMosh in London, UK. Any spare time they have, outside of juggling work, study, and entrepreneurial ventures, is spent spoiling their dog Maggie, playing taiko, volunteering, and getting out and about in London.The Creation of MoshiMosh
JET Alumni pop up in the most unexpected of places. In 2010, my husband Kenzo started work in a London-based NGO providing health services to developing countries in Africa and Asia. Though the
work and the organization had nothing at all to do with Japan, he soon discov ered that the colleague sitting next to him had spent three years on JET and, by complete coincidence, so had his new boss, and a friend in another department.
Lucy taking taiko to the streets of London
Little did he realize that the JET coincidences were far from over. Within a few months of having returned to London, he would attend a charity karaoke event, organized by, yes you guessed it, another JET. At this lovely and slightly raucous ‘charioke’ event, he would meet me – a Kiwi girl newly arrived in London, his soon-to-be-wife and another ex-JET.
Although JETs come in all shapes and sizes, and from all walks of life, what links JETs together is Read More
Position: Junior Software Developer Posted by: HTM Corporation Location: Tokyo, Japan Type: Full-time
Overview:
HTM is a growing firm based in central Tokyo providing finance and administration services to foreign companies in Japan. HTM is a learning organization where people develop their personal skills and learn international business practices. With many projects run by teams, there are many opportunities to practice leadership skills. In addition an hour is set aside every day for team learning. HTM provides an excellent opportunity to start your career and develop your personal and business skills in a friendly and international environment. Read More
Position: Internships & Jobs Posted by: British Embassy in Tokyo & Consulate in Osaka Location: Tokyo & Osaka Type: Full-time & Internship
Overview:
The British Embassy Tokyo and the British Consulate-General in Osaka are equal opportunities employers and welcome applications from any qualified candidates to fill our current job vacancies. As vacancies become available, they are posted here on this page. Please be sure to refer to the appropriate position in your cover letter when you submit your application. Read More
JobsComments Off on Job: English teachers for Yokosuka City (Kanagawa)
Thanks to Marshall Smith (CIR Kanagawa-ken, Yokosuka 2013-present; ALT Niigata-ken, 2008-09) for passing on this opportunity. Posted by Jayme Tsutsuse(Kyoto-fu, 2013-2014), organizer of Cross-Cultural Kansai. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.
Position: English teacher Posted by: Yokosuka City Location: Kanagawa, Japan Type: Full-time
Overview:
Yokosuka is currently looking to hire two Foreign Language Teachers (FLT). This is a direct hire with the city, and applicants must currently hold a visa to work in Japan. I am not totally sure what the day-to-day of an FLT is, but I think it offers more autonomy than ALTing. The FLTs will receive special teaching certificates from Kanagawa Prefecture. Read More
JobsComments Off on Job: Group Leader – Experiment in Group Living (Japan & Elsewhere)
Thanks to JET alum Josh Moore for passing on this interesting opportunity to work as a leader in a cultural exchange program for high school students in the summer. Josh (now a law student at Boston College) served as a group leader in Japan last summer and says he’s happy to talk to any JET alums who might be interested in applying.
Position: Group Leader Posted by: Experiment in Group Living Location: Japan & Other Type: Full-time
Overview:
The Experiment is looking for individuals who have demonstrated interest in intercultural and experiential learning, in-depth experience living abroad, competency in the language of the host culture, and experience working with young people. Experiment group leaders are dynamic, responsible, emotionally mature adults who support Experimenters in a number of ways. First and foremost, they maximize the well-being of all participants so that participants can have a meaningful and memorable learning experience. Leaders also represent The Experiment abroad and manage in-country relationships with integrity and professionalism. Read More
Event: Deloitte Japanese Services Recruitment Event Posted by: JETAA UK Location: London
Overview:
Deloitte is one of the largest professional services firms in the world. Our Global Japanese Services Group (“JSG”) serves a breadth of multinational Japanese corporate clients and their senior executives. JSG in the UK consists of professionals across all of our service lines, including Tax.
We are looking to recruit aspiring graduates into our two JSG Tax teams in London:
Our Japanese Human Capital team provides employment tax and human capital advisory services to Japanese companies operating in the UK and Europe. It also offers solutions to clients’ global human capital challenges. Our Japanese Business Tax team specialises in advising on all business tax matters connected with Japanese inbound investment into the UK or Europe across the business lifecycle. Read More
Film, Reviewsjapanese film festivalComments Off on “Homeland” – Film Review from the 18th Japanese Film Festival (Australia and New Zealand)
Eden Law (ALT 2010-2011 Fukushima-ken) reviews one of four Fukushima-related films in the 18th JFF. A fun fact: Homeland was partially filmed in the city of Iwaki, where he lived and worked as a JET. It’s good to hear the Tohoku dialect ringing in one’s ears once more!
Heck no, we won’t go!
The spectre of nuclear contamination from the 2011 catastrophe in Fukushima casts a dark and long shadow in “Homeland”, as a rice farmer (Soichi), his wife (Misa) and child, and his mother (Tomiko), struggles to cope after being forced to evacuate from their farm. Meanwhile, his estranged younger brother (Jiro) secretly returns to the forbidden zone and begins to tend to the ancestral home and lands, preparing the fields to plant traditional crops. It’s a quiet, meditative, at times slow film, though tensions simmer below the surface, and while the film’s focus is mainly on the human drama, much of the cause of that drama comes from the worries and issues that evacuees still face, three years on after the worst natural (and arguably man-made) disaster in Japanese post-war history.
Director Kubota’s first feature film (he had been a maker of documentaries before this) is also one of the first released for the Japanese domestic market that focuses on the lives of evacuees. Considering that the credits list special support from acclaimed directors Koreeda Hirokazu and Suwa Nobuhiro, this is probably a problematic topic for a movie in Japan right now, and therefore needed all the help it can get to be made. And it’s certainly not a pleasant reality that’s being depicted: the living conditions in temporary housing are cramped and impersonal; jobs, for people with no other career than farming, are scarce, living them with endless days and stupefying boredom (though Misa resumes her pre-marriage career as an escort), and the Soichi worries about the discrimination their daughter might face when she grows up. The refugees experience a sense of restlessness and hopelessness, feeling abandoned by the government. Some reviews of the film have criticised it for not taking a harder, clearer stance on social and political issues, but considering the depiction of hardships these characters face, it would be unfair to accuse it of whitewashing or ignoring the problems that people like Soichi and his family face.
The performances in “Homeland” are quiet, just like the film, with most of the heavy lifting concentrated in the roles of Soichi and Jiro, though Tanaka Yuko’s performance as the increasingly addled and distracted Tomiko, is heartbreaking to watch. And though Kubota somehow was able to film some of the scenes in the movie in the main streets of actual abandoned towns in Fukushima, for the most part the movie looks pretty pedestrian and staid, and would have benefited from a director more experienced in dramatic framing.
However, what Kubota intended to show is the human emotional state and reaction to the disaster, rather than exploring anything ideological, and in this he is largely successful. There is a yearning by displaced souls, caught in perpetual transit, for a home, to retain their dignity and also, to assuaged a collective sense of guilt for fleeing their ancestral homes. Jiro’s actions, in persistently living and farming on contaminated land, is definitely foolhardy and ill-advised, but one can understand the resolve and resilience of his spirit, seeking to triumph regardless of the odds, to quietly rebel against the government in a way, by not abandoning a place that so many others have. A film like “Homeland” is still important, if it means keeping alive in the nation’s consciousness, the lot of the abandoned and the lost of Fukushima.
Homeland (Ieji) by Kubota Nao, released March 1 2014 in Japan, starring Matsuyama Kenichi, Uchino Masaaki, Tanaka Yuko, Ando Sakura and Yamanaka Takashi.
“Living in Japan, you learn not just the Japanese language, but a new kinesthetic language as well, such as bowing all the time like it’s an instinct, or getting used to sitting on a tatami mat instead of a chair, or bathing Japanese-style. It’s like a new vocabulary for living in your own body.” (Martin Bentsen/City Headshots)
Lee-Sean Huang (Oita-ken, 2003-06) was an ALT in Nakatsu City. Upon returning to the United States, he became the webmaster for JETAA New York. In 2008, together with Steven Horowitz (Aichi-ken, 1992-94), he helped to found JETwit.com in 2008 as an avenue for connecting and giving voice to the JET alumni freelance and professional community.
A modern-day Renaissance man, Huang is the co-founder and creative director behind the community-centered design and social innovation firm Foossa. He is also a faculty member at SVA’s MFA Design for Social Innovation program and an instructor of the Brazilian martial art capoeira.
He recently joined the Wisdom Hackers collective together with other likeminded artists, activists and entrepreneurs, to which he contributed a chapter entitled “The Thinking Body,” which outlines his views behind the virtues of kinesthetic creativity. In this exclusive interview, Huang shares his journey and thought processes with JQ’s readers.
The philosophical dispatches from Wisdom Hackers are described as an “incubator for philosophers that compiles dispatches from young, edgy thinkers from major cities across the globe.” Can you tell us a little more about this initiative and how you got involved?
We are building a movement for critical inquiry and connecting ancient wisdom to our contemporary context. In our present form, we are partnered with e-publishers The Pigeonhole and releasing a dispatch a week over 10 weeks. Next year, we plan on releasing a limited edition physical book made by monks in Denmark. Beyond publishing our own ideas, we want to create a curriculum or “cookbook” of sorts, and get it into schools, colleges, and other learning environments. The Wisdom Hackers curriculum would provide a starting point for anybody to start asking deep questions, think critically, and create their own dispatch to tell their own story and perspective. The curriculum would also include a guide for how to build your own community of like-minded seekers. That’s a bit of a preview of where we are going with Wisdom Hackers.
My friend Alexa Clay is one of the original instigators of Wisdom Hackers. We were introduced a few years ago through a mutual friend, Alnoor Ladha, who is also a Wisdom Hackers seeker. I ended up becoming an advisor for Alexa’s book, The Misfit Economy, and on her project, League of Intrapreneurs. When Alexa approached me about Wisdom Hackers, I jumped at the idea. I had a bunch of ideas floating around in my head that did not fit in the format of the usual blog posts and articles that I write as part of my design and teaching career. I also liked the challenge of writing longer form content, something I was a little afraid of doing, but that is exactly why I said “yes.”
You are certainly amongst august company. Have you had any direct interaction with the other “seekers” of your collective, or have you developed your ideas primarily on your own?
I have become good friends with the New York-based Wisdom Hackers crew. We hosted a Wisdom Hackers panel discussion here in September. We have edited each other’s dispatches and also have a private Facebook group where we share ideas, so there is lots of cross-pollination happening.
Film, Reviewsjapanese film festivalComments Off on “Short Peace” – Film Review from the 18th Japanese Film Festival (Australia and New Zealand)
From the biggest Japanese film festival in the world, Eden Law (Fukushima-ken ALT 2010-2011) reviews an anthology from the most exciting names in Japanese anime at the moment.
Short and sweet.
Four short films (short pieces?) make up this anthology, an unashamed and exuberant exercise in creative muscle-flexing as some of the biggest names in anime take the helm: Shuhei Morita (“Possessions”), Katsuhiro Otomo (“Combustible”), Hiroaki Ando (“Gambo”) and Hajime Katoki (“A Farewell to Weapons”). In addition, a video game was released as part of this multimedia project, “Short Peace: Ranko Tsukigime’s Longest Day”.
“Plot” or “theme” is pretty loosely applied to Short Peace. Apart from sharing the same general vicinity, located somewhere not too far from Mt Fuji in central Japan, there is no connective narrative and each stands alone as a separate piece. They take place in different time periods of Japanese history, from ancient days to a post-apocalyptic future. The pieces are best enjoyed and experienced for their visual impact rather than for any story, for there is very minimal setup or backstory, and the term “style over substance” is vigorously embraced. Some backstory however, would have been useful, in order to make sense and provide context for the setting and events of some of the shorts.
Each director are wildly different in how they chose to tell their tales. The first chapter, “Possession”, is about an itinerant craftsman of sorts who, seeking shelter in a derelict and forgotten shrine from bad weather, finds himself assailed on all sides by tsukumogami, an endearing type of mischievous spirits or monsters formed from unwanted household objects. The use of CG is more overtly apparent, in the blocky design of the main character, and the technology’s usefulness in animating gorgeous detail is fully utilised, resulting in richly designed origami and textiles patterns filling the screen. This short was nominated this year for Best Animated Short category at the Academy Awards, and it’s not hard to see why: apart from its animation, the short has a fable-like quality in its story-telling, as the tsukumogami bemoan their lot, of being callously discarded after years of faithful service and so take out their frustrations on the lone mortal who have strayed into their world.
“Combustible”, the second chapter, is a love story between two young people whose families are neighbours. Forced apart by duty and social convention, they are reunited by the threat of a blaze that rages out of control in their block, a common and deadly hazard in the days of largely wooden cities. This piece draws more heavily on Japanese cultural heritage than the first, as it opens, quite literally, like a fine scroll painting, and simply looks stunning, departing radically from the usual anime style. Another fascinating aspect is the depiction of Japanese firefighting, which looks like a faithful recreation of real historical accounts and techniques. “Combustible” won several awards, like the Grand Prize at the 16th Japan Media Arts Festival and was also nominated for the Academy Awards for animation short last year.
In “Gambo”, the third chapter, a white bear comes to the rescue of a young girl against a giant demon that has been killing the men and kidnapping the girls. Incorporating several elements – the demon’s off-world origin is hinted at, and an injured samurai wears a crucifix – this is a dark and brutish short. The gore and violence is depicted graphically and copiously, and the animation style is coarse and thick, all in contrast to the elegance of the second chapter and the playfulness of the first. With its slightly cheesy dialogue delivered earnestly, and one-word-title film, It feels like a 70’s slasher-exploitation one-word-title film, as if children’s anime like the concept behind “Kimba” was given a radical adult makeover.
In the last, “A Farewell to Weapons”, what looks to be a mobile scavenging unit scours the ruins of a city looking for weapon supplies, and finds itself battling a superweapon, a leftover relic from some unknown war. It starts off a little bit “Top Gun” as the opening montage establishes the stereotypical character types common to every war film (the grizzled leader, the nerd, the lazy rebel, the guy who has dreams of a normal life after the army and who you just know would be the first to die, etc etc), but once into the action, Hajime Katoki’s experience from working on a lot of mecha-based anime (like “Patlabor” and “Gundam”) comes to the fore, creating some of the most exciting man-vs-machine combat sequences I’ve seen in a long while. The thought and attention put into thinking up possible methods of modern warfare and weaponry gives it an unexpected sense of realism, like some sort of futuristic “Hurt Locker”. The ending however, is rather anti-climatic, and while comical, seems a bit unsatisfying and slightly misjudged, given the tone that had been established.
“Short Peace”, despite some flaws, is a hugely enjoyable demonstration of animation and creative style. A welcome change from the usual uniformity of technical execution that dominates a lo of anime fare these days, and a strong powerhouse performance from Japan’s best.
“Possessions” by Shuhei Morita, “Combustible” by Katsuhiro Otomo, “Gambo” by Hiroaki Ando and “A Farewell to Weapons” by Hajime Katoki.
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