“One person is not a tool for another” the heroine of Juzo Itami’s 1995 melodrama A Quiet Life (静かな生活, Shizukana Seikatsu) eventually writes in her diary quoting her novelist father but also reflec…
Jul 29, 2024 • Subscribe
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Supermarket Woman (スーパーの女, Juzo Itami, 1996)
A veteran housewife uses her long experience to save a failing supermarket while standing up for wholesome small-town values in Itami’s post-Bubble farce
The Last Dance (大病人, Juzo Itami, 1993)
A self-involved film director gets a lesson in what it is to live when he discovers that he has terminal cancer in a lighthearted melodrama from Juzo Itami.
The Silent Duel (静かなる決闘, Akira Kurosawa, 1949)
A doctor who contracted syphilis from a patient wrestles with desire and responsibility in Kurosawa’s post-war drama.
Re:Zero Starting Life in Another World Re：ゼロから始める異世界生活 Re:Zero kara Hajimeru Isekai Seikatsu
A hikkikomori, fit, single-child boy who stopped going to school one day after failing to make friends, experiences nausea after leaving a convenience store and the world distorts.…
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Minbo, or the Gentle Art of Japanese Extortion (ミンボーの女, Juzo Itami, 1992)
“Yakuza are vain, treat them politely,” the heroine of Juzo Itami’s 1992 comedy Minbo, or The Gentle Art of Japanese Extortion (ミンボーの女, Minbo no Onna) instructs a hapless…
Seven Weeks (野のなななのか, Nobuhiko Obayashi, 2014)
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『どれが恋かがわからない』奥たまむし先生インタビュー（第一回）
THE YURI TIMESでは、漫画『どれが恋かがわからない』（KADOKAWA）の著者、奥たまむし先生にインタビューさせていただきました。
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The Stairway to the Distant Past (遙かな時代の階段を, Kaizo Hayashi, 1995)
Maiku Hama is forced into a confrontation with the legacies of his past along with those of the post-war era in the second part of Kaizo Hayashi’s noir…
デブ活 [debukatsu]
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Farewell: Comedy of Life Begins with a Lie (グッドバイ～嘘からはじまる人生喜劇～, Izuru Narushima, 2019)
A womanising magazine editor gets more than he bargained for when he hires a beautiful woman to pose as his wife in order to break up with his…
Kanasando (かなさんどー, Toshiyuki Teruya, 2024)
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生成AIの台頭と知的活動の隔絶の心配
AIが発達しても好奇心旺盛な人間、自己顕示欲が強くこだわりが強い創作者、頭の良さがずば抜けている人たち、天邪鬼、変人、狂人は創作や研究において頭角を現し続けるであろう。これは変わらないと思う。しかし頭のねじが壊れていない、その他大勢の方々は知的探求において受け身に甘んじたり思考が単純化しそうで怖い。 趣味の世界で没頭できる余裕がある人は大丈夫だろうけど、駆け出しの十代や日々の生活でかつかつな人たちからすればじっくり研究したり徐々に技を磨く工程が「贅沢な道楽」となってしまうのではないだろうか。 努力せずともそこそこ面白い想像や探究が可能とするAIだが、思考や論理組み立ての基礎が脆弱な段階からAIに依存するとカンペだよりと同じ結果になりそう。計算機を使う前に基礎的な計算方法を知らないとミスが発生しても対応に苦慮するのと同じである。計算機やAIをけなしているのではなく、それを使いこなす教育の不十分さと人間の怠慢さを危惧しているのだが…… また創作や研究への情熱を理解できない人はその重要性を「有効性」「生産性」や「人気」でしか図ることができなくなり、ますます人間の特権である遊び心の領域が退化する不安が先走る。杞憂であればよいのだが。 そもそも知的作業を営む人間の数がごく一部になってしまい、最先端にいる人とその他大勢の間に大きな隔たりが生まれると中世ヨーロッパのように「ラテン語の出来る人とできない人」のように認識能力においてかなり決定的な差異が発生しかねない心配をしている。 中世においてラテン語ができれば古代の知識や遠方の人間との交流を可能とする学術の言語だった。ラテン語ができれば自らの研究が共有されやすく、他者の知的探求を認知しやすくなる。いっぽうラテン語ができない人間は他者（権力者その他）による解説に依存することにある。 これまで人は創作や研究における競争が行き過ぎると、その内容ではなく人格攻撃やプラットフォームでの上げ足取りや人気取りの小手先を重要視する傾向がある。もちろんこれは兼光の個人的な印象でしかないが、日米を比較したり、これまでのメディア業界の歴史を振り返るとそのような事象が目立つのだ。巨大な統一プラットフォームでの勝ち組負け組形成による不均衡の増大より、複数のプラットフォームで色々な競争があったの方が文化は豊かになると思っている。 プラットフォームの集約と生成AIの問題は別だが、片方がもう片方を悪化させる可能性は否めないのではないだろうか。 すごい作品ばかりが立ち並ぶ領域にいきなり立たされると人は委縮しやすい。最初は身近な箱庭がいい。家庭の中で、学校で、同人誌即売会の中で――ローカルで技を磨き、やがて本当に上を目指す人はより大きなステージへ。 しかし生成AIから手軽に研究・創作できると最初からグローバルでの競争となるために、気軽に身近な場所で下手の横好きから創作・研究が始められず、挫折する人が増えそうな気がして仕方ない。 これがすべて50代中盤のおっさんの身勝手な心配であればいいのだが……
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The Alchemist Who Survived Now Dreams of a Quiet City Life, Vol. 2
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"Should You Say あなたの物ですか？" #learnjapanese
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あとになってわかったこと
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Why You Can’t Be Prime Minister (なぜ君は総理大臣になれないのか, Arata Oshima, 2020)
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Real-life Japanese vs Textbook Japanese #1 ですから・ますから
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Hayao Miyazaki and his team are undoubtedly masters of their craft. It’s been ten years since Miyazaki directed a film (the wonderful, if divisive, The Wind Rises). This…
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Bonobono (1995) 38
It has been awhile, hasn’t it? Torrent / Mega
