Wim Wenders' film Perfect Days addresses contemporary issues narratively and methodically. On the one hand, there is the phenomenological aspect of imitation of the nature between artificial life and natural life (a metaphor in the film and its narrativity), and on the other hand, there is the metaphysical aspect of its limitation. Since digitalization, this has emerged from the art norm of the analogue era in the 20th century. - Between the assessment of artistic values in the 20th century and the 21st century.
I examine them methodically from the perspective of neuroscience.
Wim Wenders' work shows how he developed a new mode from the critical aspect of his early and recent works. His work does not address social problems but reflects a narrative world - the global film industry - that contains media and critical theories.
His story reflects "me" (the direct translation in German is "mir", but dramatically this refers to the verb "mich") - Wim Wenders himself. At this point, I would like to mention Wittgenstein's autobiography. (From his life's work between the 1980s and his most recent works: Tokyo Ga (1985) and Perfect Day (2023)
I am exploring two things here: cinematographic narrativity and autobiographical narrativity in the context of Wittgenstein's theory, which refers to the ethics of autobiography. Wim Wenders' work in the 21st century is compared to the films "Reverse Angel" (1982), "Tokyo Ga" (1985) and "Wings of Desire" (1987). What is new about "Perfect Day" (2023) is what I call "superimpose" or a sense of virtual reality in current industry and technology in arts and design. The recent study is in the Film and Television Faculty of Film, Art and Creative Technologies.
In “Reverse Angel” (1982), Wim Wenders worked with VHS and focused on 'backstage' in the urban space, his work area, etc. The VHS camera made it possible. What he did was just change his perspective on the object, but his subject didn't change—it was an experimental film work.
Wim Wenders's work is straightforward, from my research aspect, it addresses Wittgenstein's theory of autobiographical in the study of philosophy.
The cinematographic narrativity in Wim Wenders' films "Reverse Angel" (1982) and "Tokyo Ga" (1985) are nowadays at BA level of film editing (but it can not ignored as the film montage technique and visual semantics), so my challenge aims to engage with Wittgenstein's theory and today's technology in film and television. In Japanese film narrativetiy (Shingeki/新劇, the modern theater which is in contrast to the Traditional Japanese Theater such as Kabuki and Kyogen), that is made often the following figures by the camera(s). 'Player-actor/actress' is centred theatrically. The studio setting is like a stage design. And using the filim montage technique with the recording of the landscape. (S. The part of Ozu's film in the film "Tokyo Ga" by Wim Wenders.)
Wim Wenders's is rather tableau.
In the film “Tokyo Ga” (1985), Wim Wenders did not translate the Japanese into German or English without subtitles, but recorded it with his camera, so that there is a monologic commentary by Wim Wenders.
One memorable scene was the honest "resistance" of a child being led by his mother in the station in Tokyo, ...
The audience can see the difference in morality before 1945 and after through Wim Wenders's sight. - From objective to perception in the documentary film.
What is a documentary film? that is not a protocol is a criticism towards German Nazi Documentary Film during the second world war. He dealt with the film and moral "The morality of humility and reflection on life" to learn as a common sense through the film of Ozu in the Japanese Imperial era.
In the film Perfect Day, there is the translation with subtitles. However, the main role of Yamamura is a silent person, who does not speak so much. The story itself is very simple.
Additionally, I would like to mention two artistic characteristics in Wim Wenders's work: metaphor and tableau painting.
- Narrativity from the side of literature (playwriting and performing/embodiment), as well as visual and musical aspects.
驚き 桃の木 山椒の木 (Odoroki Momonoki Sanshonoki)
Translation in English is not funny, "Surprise! Peach Tree, Japanese Pepper Tree" - How I (was) surprise(d)!
That in Japanese has no meaning, we just express a gesture through the phonetic sounds of words, which is typical wordplay in Japanese. Wim Wenders' Film Perfect Day is similar to typical wordplay in Japanese. There are three language cultural senses of Japanese, English and Wim Wenders' mother language German in this film, each sense has no meaning if it is translated into another language's cultural sense.
The gaps between different cultural senses, make a tempo in the film.
Wim Wenders' "Satori" in this film is that in today's society where different cultures overlap - his perspective from outside in the film Tokyo Ga (1985) - has changed from a subjective perspective which overlaps with his own life. My wonder is always Wim Wenders' fantasy in the figure of the main character in the film. It makes very strong sense in his film and generally 'a man', not a woman. It's usually a very "weird guy." I feel that is himself. – Probably he reached something in the whole of his lifework.
In other words, digital technology made it possible, and easier in film production, to see everything smoothly.
- Wim Wenders'superimposes by himself into Japanese Culture in his subjective sense.
My interpretation: The main role of Hirayama (a Japanese actor, Kōji Yakusho) is 'Zeitgeist' (時代精神) from Showa-era (1926-1989). Showa-era was till January of the year that the Berlin Wall fell. His work "Tokyo Ga," which he produced in Japan, was produced at the end of the Showa era.
This work creates a mysterious sense of time and space of different spaces, "now and past" and "now and future," through the direction and the actors' performances in a modern space, focusing on the lifestyles, communication, workspace, recreation, and family of the time.
This is, unusually, the most philosophical of Wim Wenders' recent works.
What was impressive was the 1968 generation, Wim Wenders
himself. - Wim Wenders himself did not become a medical doctor, but a film director, dropping out of the elite society of West Germany.
He studied film and Television at the Film College in Munich and later earned a PhD in Religion and Liberal Arts.
Nowadays, he is a professor at the European Film Academy. In Wim Wenders's early works, I feel a sense of "confession" silently and "criticism" from those in Japan and Germany who experienced World War II in some way that I know.
In the film Perfect Day, Hirayama's father doesn't have long left to live due to his illness, he doesn't appear in the scene. - Paternity
And the human dramas. It made me feel the length of Wim Wenders' life.
This film, which at first glance appears to be about Japan, is one of Wim Wenders' lifeworks.
Metaphor and Tableau Painting in the film Perfect Day:
Tableau's paintings were natural and true to life and had the effect of walling off the observer from the drama taking place, transfixing the viewer like never before. (https://www.tate.org.uk/art/art-terms/t/tableau)
The metaphor of 'time' in the film - Music tape, Lyrics and songs, Plants, - from past and now.
Thereby the questions for the changing worth of things (Music tape- Old things), non-varying value of immateriality (Lyrics and Song), and reincarnation (Plants-Life) - whether memory is an 'innere Welt' of an existing time? or time is diversity and does it exist in the real world? - is it äußere welt? - are the questions for the spirituality.
This film production gave the German filmmaker Wim Wenders a very new and special occasion in his life work, which is perhaps his fate, like a love song Perfect Day by Lou Lead in 1972 - finally, he came back to Wim Wenderes' artistry truth and authenticity of the starting point of the film work - Alice in den Städten (Alice in the cities) 1974
From my experience with an art project in Japan is not in the same fixed condition in Germany. The way of production in Japan gives more freedom to the artist (Author).
Wim Wenders Perfect Day
Perfect Day (1972)
drink sangria in a park
and then later
when it gets dark we go home
Just a perfect day
feed animals in the zoo
and then later a movie, too
and then home
I'm glad I spent it with you
oh such a perfect day you just keep me hanging on
you just keep me hanging on
problems are left to know
Weekenders all night long
it's such fun
just a perfect day
you make me forget myself
I thought I was someone else
someone good
Martin Heidegger's idea was static, and he expressed his ideology of time and being. The attempt of Wim Wenders is rather autobiographical consciousness and its articulation, which made a poetical expression in this film. It was replaced in a city, Japan and which is in contrast to Martin Heidegger’s “Zeit und Sein”.
According to Wittgenstein, (... one of the most important parts in artistic research Metamorphosis II) -> Difference to Wittgenstein's
Wim Wenders’ contribution in his kitsch - Something x:
The film is a global industrial production, thereby Wim Wenders art applies to 'live-drawing of' which is the feeling of the actor/actress vividly - he catches by the camera - shooting- is his beauty. There exists time and space in the city – alienation – a feeling of freedom. There is time space without a schedule, no appointments, nothing.
The world created by the actors' movements, gazes, gestures, and communication within that visual space brings about a world of limitless inspiration that is close to everyday life yet far removed from it. In particular, in this work, the interaction of shadow-stepping between Japanese and German transcends common language and culture from the subjective aspect of Wim Wenders, creating a new image.
There is no personal information about the main role Hirayama (a Japanese actor, Kōji Yakusho) in the film (It just looks like who watched the film Perfect Day.), what we need to know is narrativity, such as how old he is, where he was born, what he studied, etc - He is a 'Zeitgeist (時代精神)' in this film Perfect Day - Probably, Wim Wenders himself has in his mind vividly, together with a Japanese actor, Kōji Yakusho's life-experience in Showa-era.
- Such as a perfect day you just keep me hanging on..., is Wim Wenders' Satori (悟り) and his dream till passing away
I reflected Wim Wenders' long life and his lifework in the film Perfect Days.
I write a review in German original.
After that, I will write it in English and Japanese without translation.
Wim Wenders' Fantasy (comedy-drama) on the film Perfect Day (2023) (Working title)
On the film Perfect Days (2023)
- Wim Wenders' Komorebi (木漏れ日)
Satori (悟り)*, Spirituality, Myths in Everyday Life
*From a modern perspective, my grasp of 'enlightenment' empirically to be a state of being able to accept oneself and be natural.
Just a perfect day, drink Sangria in the park
And then later, when it gets dark, we go home
Just a perfect day, feed animals in the zoo
Then later, a movie too and then home
Oh, it′s such a perfect day
I'm glad I spent it with you
Oh, such a perfect day
You just keep me hanging on
You just keep me hanging on
Just a perfect day, problems all left alone
Weekenders on our own, it′s such fun
Just a perfect day, you made me forget myself
I thought I was someone else, someone good
Oh, it's such a perfect day
I'm glad I spent it with you
Oh, such a perfect day
You just keep me hanging on
You just keep me hanging on
You′re going to reap just what you sow
You′re going to reap just what you sow
You're going to reap just what you sow
You′re going to reap just what you sow
I transform and describe in semiotics methodologically - on R practical explanation
There are five different artists and their artworks, deal wiht the topic of 'civilisation'.
Wim Wenders' work addresses the recent media theory and problems (of virtual realiy for the critical theory) that are for us artistic researchers very helpful and useful, to explore his work. (Doc and Post-Doc level in the media art)
His long-life subject is the question of 'civilisation'.
Thereby my research suggestion is methodological.
-> It's nice to see the Japanese/our cultural behaviors and lifestyles of the (70s and) 80s in the film against the backdrop of the 21st century.
Comic and Philosophy:
I like a narrativity of comic and its abstraction in the film Perfect days.
Wim Wenders Artistic immaterial value is very high.
Wim Wenders and Modern art:
Ethics and 'true love' are his starting points of lifework.
C-Print
60 x 78 cm / 23 x 30 in. [H xW]
Edition: 12
Edition no.: 4 / 12
https://www.bastian-gallery.com/kuenstler/wim-wenders/
Wim Wenders' challenge in the film Perfect Day is not Santa (objective), but rather editing with analogical experimental photography as a mode in the cinematography. It is the sequences during the sleep of the main role (Hirayama) - Subjective and Its Perception in the film – Consciousness?
I will come back to the concept of 'Verfremdung' in German.
Both are not fake (no one can re-paint Lautrec and Monet. It is not the same of original and not a copy of original. Just a motif from an image.); completely different things came out of the original). Is artistic style and artistry value and aesthetic property? Yes, if the artistic technique is recognised as an aesthetic account. But no one can reach it.
-> I need to interview to Wim Wenders on the topic of 'desire and awareness' is Satori (悟り) by a Christian towards Idealism in Formalism - True love and freewill
Ethics and Morals in the film Perfect Day after Wim Wenders Film Tokyo Ga (1985) and Winges of Desire/Der Himmel über Berlin (1987)
->Immateriality/Immaterialität in Pop Music in the 70s, as well as Immateriality in Traditional Japanese Pop Music, such as a Song by GOZIE (Blind woman)
Formalism describes the critical position that the most important aspect of a work of art is its form – the way it is made and its purely visual aspects – rather than its narrative content or its relationship to the visible world.
https://www.tate.org.uk/art/art-terms/f/formalism
I interviewed with Max Eastley on the topic of 'MA (間)'.
The context for the perspective I want to ask Wim Wenders about is, such as in Italian art after the Second World War. In Pop Art and contemporary art, the motif was replaced, but the subject of 'true love' was a centered topic in Art and Desgin. Something different aspect of uman nature, but in the art and its capitalism (ethics and aesthetics in everyday life), it was also in the 70s in Italy
These logics are contained in the narrative of the film Perfect Day, in which Wim Wenders asks about the difference between playing/Spielen/遊び and games, between analogue and digital, and between manual and automation in the social context.
In the Film "Perfect Day" (2023), Wim Wenders was out of that time-space. Monet's painting or garden is hereby a mode (fashion) and Lautrec's painting is an object.
Santa and Human Ego, is a creativity?
The object (here is 'Santa') appears in an entirely different space-time and the subject changes.
As an artist German filmmaker Wim Wenders after his film Anselm, how he worked on advanced his idea in the film Perfect Day, both films are on the subject of art and philosophy.
I asked him in Chat "You are advanced more than your age, aren't you?", he answered to me "Yes". - Whether Wim Wenders uses AI (of course) and/or has a Wim Wenders Android (It's possible already.). This chat is just a mystery, which was deleted by both sides.
- The question of (artistry, cultural) identity, authenticity, plurality, diversity, originality, etc.
I inquired to the Wim Wenders Foundation for the research, and I received an allow(ance) from the Wim Wenders Foundation. (For using his images, they wrote to me that I would contact a company if I need to have the still image for the publishing of my review (or research).)
This research is not anonymous, an existing research.
Wim Wenders is a professor in the European Film Academy.
In virtual reality, if one clicks the button, that would be a fact and 'to click' is an act.
Who is one?, is a code which is not anonymous.
- False or True
in which context?
How will we examine it?
At the Moulin Rouge, the Dance is an oil-on-canvas painted by French artist Henri de Toulouse-Lautrec. It was painted in 1890
The same applies to the perspective in Wim Wenders’ film “Reverse Angel” (1982), Wim Wenders was in time-space.
-> Question for 'Aesthetic experience'
Wim Wenders Film Perfect Day (2023) is in contrast to his Film Anselm (2023) - is an artwork, if it is autobiographical, however, Wim Wenders is an artist/filmmaker who rejected to create an artwork*, what he corresponded through the film Perfect day? - is my conclusion. (*no creating an art style. I am also one of the artists, not create an art style (-ism), like the painter.)
(Thereby I must write about Formalism in the film.)
His film Anselm is the original work of Anselm Kiefer's artwork, however, the Wim Wenders film works in a familiar creation of Wenders's (Film) and Kiefer's (Visual arts) in Performing arts.
Rebecca Horn produced a narrative film with her art objects, a tragic film with humour (her art objects), is an artwork.
Wim Wenders film Pina (2011) has a commercial value of Wim Wenders. Pina Bausch (1940–2009) was awarded the Kyoto Prize in 2007. Die Ausstellung im Bundeskunsthalle in Bonn in 2016. The Martin-Gropius-Bau in Berlin dedicated a comprehensive exhibition to Pina Bausch and her dance theatre in 2017. The original choreographic work of Pina Bausch is an artwork, however, in the Wim Wenders film, it works in the dancers' creation for Pina Bausch.
Human and Machine - Human and non Human society
Cultural Heritage in the 21st century
Metamorphosis III
I explore 'individual property' in this context
Attribute Uniqueness, and so on
Distribute Attention
In the case of film, is it in the narrativity of the image? or Is it in the screenwriting (or storytelling)?
What is 'synopsis'?
A Japanese actor, Kōji Yakushothe who is the main role of Hirayama talked about his future dream of acting and playing with the film in an interview, which is a road movie film about an old man and a kid.
This old man is his role because he has become old today.
He continues to create the 70's Wim Wenders dream. Wim Wenders is a professor of the European Film Academy. His film Perfect Day is a gift for the Japanese Film Academy/Japanese Film History.
https://www3.nhk.or.jp/news/html/20241018/k10014612851000.html
「老人と若者のロードムービーっていうんですかね。
そういうのをやりたいですね。
せっかく老人になったから。
ちゃんと欠点も持ちながら、若者と一緒に、子どもでもいいですけど、子供も老人も成長していくような物語みたいなのないかなと思いますね」/ "I could call it a road movie about young people and old people.
I'd like to do something like that.
Since I've become an old man.
I'd like to do a story in which the characters have their own flaws, and in which both the young and the old grow up together, or even children, would be fine."
---
What is your dream?
What is 'dream' for us human? - dream - whether only human has an ability to dream?
-> The question between the classic type of research matter and the modern type of research matter "Sharing and Caring" in the context of intellectual property and authorship
Appreciating the artwork and aesthetic experience between digital virtual space and physical space, its fact and true:
An aesthetic account of Joseph Nechvatal 'Viral aesthetic' in Artistic research Metamorphosis by Erika Matsunami
Two types of my drawing in B.O.D.Y. through my memories and my experiences in the environment (virtual environment and natural environment)