Dreaming about Dreams (Paprika)

Satoshi Kon was a dreamer. One only has to look at his rich yet short career to see how much he was able to achieve. Of course, like anyone, Kon was a dreamer who never fully realized his dreams. Perhaps the closest we will ever get to a masterpiece from him is Paprika. As it stands now and will always stand, Paprika is Kon's masterpiece, his magnum opus. Paprika is also all about dreams and the idea of invading dreams. Plenty has been written on this and as such, there isn't much left to say from the perspective of someone who has so far only seen two Kon films. The other being Ohayo, a short film he released in 2008, just two years after Paprika. Ohayo also happened to be Kon's last film. He would later die in 2010 from pancreatic cancer. Although Ohayo was not meant to be Kon's last film, it so happened that a story about waking up suddenly put to sleep an established career.

It is evident that Kon was obsessed with dreams. His themes and editing styles are quite literally the stuff of dreams. Possibly, his biggest influence was in fact dreaming. With this viewpoint in mind, Ohayo seems to be a far bigger film than the length of it would suggest. Ohayo depicts the very process of moving from the world of dreams into the real one. As the film depicts, the process is not easy nor pleasant. The character lags behind an identical image of itself as slowly the two parts, the dreaming and the awake, reconnect to form a whole being. Kon thought that dreams made up what a person was. Perhaps Paprika was meant to show how those dreams were to be unique to people and not be tampered with. Perhaps it shows what happens when we try to separate reality and dreaming from each other. Unfortunately, Kon never had the time to fully explore what he had set out to conquer. Paprika remains to be his last thoughts on dreaming and the process of it and as most of his films, it does it in a masterful way.

The Movies Invade Our Dreams [Paprika, Kon, 2006]

I won't profess to have understood the plot, or every scene, but much like how people deal with Donald Trump's debate answers, I sort of grasped a hint and mood. There feels to be two themes: 1) Dreams' connection to reality and the relationship between the two (which influences which?) and 2) Technology's impact on dreams (as metonymy/synecdoche for fantasies, imagination, etc). The latter is made more interesting by a movie motif that runs through the plot, a movie that at times merges with "dream world" and reality - a creative tribute to cinema.

It's that connection, the dream-film parallel, that I found quite provocative about Paprika. The external struggles - reclaiming the DC mini and finding the culprit - is paralleled by the internal conflict of characters coming to terms with their dreams, dreams that represent their suppressed desires, guilt, and fantasies.  The film ends with Detective once again becoming willing to watch films, capstone-ing a climax that saw characters defeat the domineering Chairman by coming to terms with their dreams' "not-dreamness." Dreams are a part of us, and as the DC-Mini's original intention, can be a tool of introspection and elevation. So does that mean film can be such a tool too? And if dreams can "invade" reality, can cinema too?

The "Introduction to Paprika" by Caleb Crain talked about films, novels and poems being forms a dream-sharing. It's not hard to see movies as embodiment of our greatest fantasies. From Marvel's franchise to Rom-Coms, movies "bring to life" fantasies and desires we have and allow us to live them for 90-180 minutes. But that relationship rests on the assumption that our desires influence our entertainment. What if our dream-sharing begin to influence our desires?

I think I wouldn't be alone to say that I've definitely had dreams based off movies I saw the night before. Dreams where I'm cast into a 007 firefight and the thrill is all there. And there definitely have also been times when I woke up from a good dream and went "damn, if only it goes like that." So, if movies can influence dreams, and dreams are really metaphors for our more comprehensive wants, does that finally give logical proof to the statement "movies changed my life"?

Sorry about that. But all in all, I think Kon is suggesting such a connection through Paprika. Having dedicated his life to cinema and the pushing of its boundaries, I think Paprika represents both a loving tribute and warning. With power and influence comes responsibility. When we look at issues like #OscarsSoWhite, before dismissing it as mere show-biz drama, think how many dreams we are shaping, and how many pursuits we've set in motion.

[Also, a couple of notes to self: Things don't always have to make rational sense if they are daringly/teasingly creative; graphic matches are beautiful things; sometimes a mood is as important as plot; and, finish your movies or you will be haunted by them.]

Paprika vs. Inception - What's the Situation?

Although I'm not a big fan of anime or any type of animation film, Paprika was a film that really stuck out to me. Yes I can sit here and talk about how the match cut were beautiful and how the composition and coloring by director Satoshi Kon were also impressive. I know nothing about how animation films are made, and if each frame is drawn frame by frame, then animation definitely deserves some credit.

But what really stuck out was the theme of dreams throughout Paprika. The use of the DC Mini, a Bluetooth-like object that allows the users to see other people's dreams was definitely an innovative technique, but also sounds like something I've seen before (I'm looking at you, Christopher Nolan).

Yes, that's right. Inception is Paprika, and Paprika is Inception, right? Yes and no. The premise that both films focus on the dreams and the blur between reality and dream is what shares the similarities, but the way each film blurs these lines are both very drastic. In Paprika, there is each character that connects to every dream and moment, and they are almost like "rewind-able" moments or fragments in time that Paprika and Detective Konakawa share, but they can also switch and take portals into different worlds. But, each world and dream is connected. Inception's use of distinguishing reality and dreams is very different because the fact that it's a dream is not established until the event happens later, and it relies on clues. Paprika doesn't. Therefore, is Inception the new Paprika? In some cases, yes and no. 

Blog Post #3 - Paprika

The animated film Paprika the closest cinematic experience I've ever had that's felt like death. Not because watching it made me want to die, but I am just assuming that's what you see if you end up in Hell. I enjoyed the film, but epileptic people probably would not.

This movie embodied no culture, bedsides the obvious Japanese anime editing qualities. It really wasn't a stereotypical plot line, but just more of existential in a different world with the interactions of different characters. The animations and transitions were so creative, it was pretty much a big "F*ck you" to all animation competitors. For the viewer, the story and plot line became slowly irrelevant as the animations are so mesmerizing it becomes an incredible experience for the viewer.

Blog Post #2 - God Help the Girl, or So Help Me God?

This film was quite intriguing to me honestly. One area of the film that really tinkered with my brain was the dimensions and the border between the musical/singing aspect, and the actual acting and plot aspect. While watching this film I found myself confused by the almost pivoted perspective on how the plot would be disregarded for a few minutes for a almost music video, which did serve the plot, but did not really develop the story line. The musical aspect seemed to exemplify and solidify the feelings of the characters more so. The stereotypical awkward boy girl relationship in the film was completely personified by the singing and music video, but in my opinion it took away from plot development and seemed to make the film stagnant. When all 3 characters "took" the canoe on the river the singing seemed to distract, or pretty much anytime there was singing at all.

The Dreams From Paprika Interpreted With What I'm Sure Is A Highly Reputable Online Dream Interpretor

Film critics have praised Kon's genius for everything from his innovative use of match cuts to his creative look on how today's society would try to use dream sharing technology like the DC Mini. So what could a high school film student like me have to offer in terms of original insight on the film? My ability to copy other people's ideas off the internet, of course!

Often we understand dreams not as logical or literal but as a subconscious language written in symbolism. Since the dawn of time, humans have pondered dream symbolism for omens, devine advice and insights to the inner workings of the soul. To gain a deeper look into Paprika's symbolism, I typed in mise-en-scene elements of characters' dreams into the first semi-legit looking google search result for "dream translator", dreammoods.com. After all, "The Internet and dreams are similar. They're areas where the repressed conscious mind escapes.

Red Head
"To dream that you are a redhead suggests that you need more spontaneity and vitality in your life."

Paprika, Atsuko's idealized alter ego of the dream world, is a red head. This makes sense given Paprika's spontaneity and vitality in contrast with Atsuko's more serious and reserved manner.

Dolls 
 "To dream that a doll comes to life signifies your desires to be someone else and escape from your present problems and responsibilities. The doll serves as a means to act out your wishes."

Dolls appear quite prominently in the parade dream sequence. This could be symbolic of Himuro's desire to be Tokita. Early in the film the characters discuss Himuro's motive and Osanai points out "It's possible that Himuro was jealous of Dr. Tokita." The dolls come alive  also could represent Atsuko's desire to be more of an out-going, free spirit like Paprika.

Movies 
"To dream that you are playing a role in the movie foretells that something from your subconscious is about to emerge or be revealed. It may also represent memories of images from your past. To dream that the movie screen is blank suggests that you are trying to distance yourself from some issue or emotion. Alternatively, the blank screen symbolizes a lack of accomplishments. You feel that you have nothing to look back on."

Detective Toshimi is yet to come to terms with the death of a high school friend with whom he once made a detective movie. The movie theater in his dream is not only a representation of the movie they made, but foreshadowing that his buried memories must surface again in order for him to come to terms with them. Toshimi regrets not living out their shared goal of becoming film makers and feels he has disappointed his friend, hence Toshimi's perceived lack of accomplishments.

Butterfly
 "To dream that you are mounting a butterfly on frame symbolizes sexual oppression."

In one dream, Paprika grows butterfly wings and Osanai pins her to a table with giant pins. He admits that he loves he and is shocked when he tears open her skin to find Atsuko. The mounted butterfly could be symbolic for Osanai's repressed, subconscious attraction to Atsuko (his boss) and to Paprika (his enemy). 

Sun
 "To dream that the sun has a creepy, harsh glare represents a significant disruption or serious problem in your life. The sun is considered a life-giver and thus, any abnormalities and peculiarities to the sun's appearance represents some sort of pain or chaos occurring in your waking life."

During his monologue before he jumps out the window, Shima remarks "The ignorant sun will chase away the darkness... and burn the shadows, eventually burning itself!" The dream world invading the waking world and causing the insanity of the masses is probably what I would call "a significant disruption."

 

 









  

God Help the Girl is a twee force to be reckoned with

God Help the Girl would probably resonate well with adolescents (i'm sorry, teens... I don't want to sound too much like an adult...) who share a common obsession and love with old film cameras, Sufjan Stevens, cats, Zooey Deschanel, the bob haircut, and esoteric poetry. It's a synonym for cutesy and artsy, light and playful. However, unfortunately, it is also a pejorative for something "extremely sweet or quaint, almost to the point of nausea". (Thank you, Urban Dictionary). 

But with all jokes and cheap stereotypes aside, director and leader of famed indie pop band Belle & Sebastian Stuart Murdoch is on to something here. On first view, the idea of twee might come across to some as a style without any sort of substance. It is impossibly "twee" but it serves a purpose, mainly to do with the connections and internal dilemma between the main character, Eve, played by Emily Browning. Even before the first song kicks in, we already see that there is a conflict in Eve's life. It appears as though she has been admitted into a medical center / hospital, for which it is revealed that it is for her eating disorder. It is clear from the beginning that this change in Eve's life is not caused by her, but by other people that tell her to change. She leaves in the break of dawn to see this show and is arguably introduced to a world where there are no rules at all. It is only with her adventures with Cassie and James does she find her true voice, and this voice is free. This is a contrast to her life inside the hospital, where she had a musical voice, but it was literally and figuratively caged like a songbird. 

Other than a stylistic choice of being downright lathered in Technicolor, this serves a purpose. I mean, think about it: would God Help the Girl make sense if it wasn't filmed in this style? Of course, the messages would be the same, but how would that relate with the teenagers of today? This "twee-volution" does serve its purpose, and only to convey that "life sucks" for teenagers, but it is coated in these cute and playful colors and these quirks that you almost forget that Eve is escaping her disorder and her hospital in order to find her true passion, songwriting. A little bit of fun goes a long way for Eve, and legitimizes the twee movement as something with a purpose and real demands.