Camera Movement, Reading, and Coloniality in Ichikawa Jun’s Film, Tony Takitani
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
The function of film grammar in the creation of narrative cinema is a central one when considering the realities of cinema as a global art. Since its birth from a confluence of European scientific and aesthetic principles, cinema has become a ubiquitous art form, but together with this growth has come the spread of those very principles from which cinema sprang. As an example, camera movement in Japanese film typically follows a grammatical pattern to privilege left-to-right, chronological movement as set by western cinema. That is, the camera will introduce information as a visual analogue to the process of reading a written, western text, with the lens operating very much as an eye in its trajectory across the ‘page’ of the screen. Building on work by Jean-Louis Baudry, Brian O’Leary and Jean Louis Comolli, this paper demonstrates this feature of Japanese cinema, using Ichikawa Jun’s 2004 film, Tony Takitani, as a case study. Through a close reading of the film and its pattern of movement, this paper proposes that we may discern a symptom of the persistent inscription of coloniality imposed in and through cinema—the movement of the camera parodies reading but also accepts as natural an ‘unnatural’, western pattern of movement. The act of adaptation, too, both anticipates and supports the conception of cinema as reading-parody, with Murakami Haruki’s short story “Tony Takitani” operating as a meaningful substratum to the process of vision-as-coloniality.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it