Японский нарратив и кино (запись онлайн лекции)

追加: 2026-05-23

[00:00:03]Okay, the recording has started. Good evening again everyone. Hello again, because the recording has started. And today we'll talk about how narrative developed, how the process of storytelling in Japan developed in general, and how it differs greatly from how it was here. And let's agree right away that this lecture is just that, it's superficial. You and I will not be able to discuss structuralism. You and I won't be able to, in general, we won't have time to discuss Nicolaus with poetic art, nor Freytag's pyramid, we won't have time to discuss any of this. That is, this literary thing, how the history of storytelling developed, yes, that is, how storytelling changed in the West, because the main thing for us today is to see how this happened.

[00:01:08]And in contrast, yes, it’s like what happened in Japan. And in Japan, we won't be looking at all the literary movements or art, but I hope that, in general, this lecture will give you the opportunity to get some new information for yourself or understand some basic principles that you can then Google or ask me in direct or do something else with it. That is, in fact, yes, this is a tool, yes, perceive this lecture as a tool for further research or for further asking questions to me or not to me.

[00:01:43]I'll turn on screen sharing now, and we can get started. Here. Wonderful.

[00:01:53]And screen sharing.

[00:02:05]So, that's how it is with movies, books, and other Japanese narratives. So what are we going to consider? And the first frame that I'm showing you is the frame that probably film critics and, in general, a very large number of people who are interested in the history of cinema, especially the history of Japanese cinema, Asian cinema, know: Wazarozu.

[00:02:31]And I read a huge number of, uh, analytical articles about what OZ actually wanted to tell her.

[00:02:42]The fact that this vase is from late spring, and this is the main trilogy review with the same actress, I'll tell you about this later today, where instead of showing the moment of understanding the turning point in life, instead of a close-up of the heroine's face, they show this vase in a static frame.

[00:03:10]And it should replace our understanding of what the heroine is experiencing at the moment. And here I hope that after we talk today, it will be generally clear why this particular vase was here and why there was no Hollywood close-up on the emotions of the main character.

[00:03:33]And in order to understand how all this happened, let's look at how it happened with us.

[00:03:39]And again, just to get a very basic understanding of how storytelling developed, yes, let's say in the West we turn to the basic foundation of Aristotle's poetics, in general, and from him, in fact, yes, well, that is, stories were told differently before, but the way we tell stories now and how we read them in Western literature, it's all Aristotle's poetics. And in fact, he was the first one who said that the narrative, in general, should be linear, right? That is, it must be subject to strict logic.

[00:04:24]And the main goal of the narrative is such, uh, cathartic effects on the recipient, yes, that is, on the main character, with whom everything happens, through such a harmonious structure of events. A harmonious structure of events means that it must have a beginning, middle and end. And after the end there must be some logical conclusion. And any event is valuable within the story precisely because it leads the character to the denouement.

[00:04:53]It actually really, really powerfully, and, let's say, it shaped the way we tell the story, because, um, because he structured it all on the principle of tragedy.

[00:05:16]And here I mean, after all, ancient tragedies. And this unfolding of events, this catharsis, which is ultimately the goal of the form, is, in general, a strictly secondary character in Aristotle.

[00:05:36]That is, everything that forms a character is the actions that he performs and that lead to his denouement. And this trinity, in general, has remained with us. And the only thing that matters to a character is the goal. That is, there must be some kind of completion. In general, the fact that in European culture any narrative develops according to logic is Aristotle’s, because the Western Asian narrative has never developed according to logic. But there the concept of logic is, in principle, a little different and works a little differently. But that's a whole other story. And if we look further, yes, that is, look, this ancient tragic model, which I will not go into too much detail about now, it, uh, basically laid the background for everything that we are accustomed to seeing. That is, further the ancient model will be connected with the Christian one, which will work on exactly the same principle. The history of the world, it has a beginning, it has a meaning and it has an end. Human life is a journey. And the story that is told to you must have a moral.

[00:06:47]After you listen to him, he should direct you in the right direction and teach you something. That is, there must be a moral to the story. That is, a story that is told is always told not just for the sake of it, but for a reason.

[00:07:05]It is an instrument of truth or an instrument of teaching.

[00:07:10]And the Christian myth will be constructed this way, and the ancient myth will be constructed this way, and the entire late medieval and modern era narrative will be constructed this way, because we actually had Aristotle, because we had Aristotle. Ah, and if you look at this Aristotelian system in general, if you want to understand how this European myth works, I am sure that you know this book, because many people know this book. K was the hero with a thousand thousand faces or The Hero with the Southern Faces, which, in general, describes that very Aristotelian path of the hero, and takes him through that very transformation through which, uh, characters are taken in almost all Western, uh, stories. So you can apply this hero's journey to almost any Western story, and you'll see it there. That is, some m and some moments may be present.

[00:08:17]That is, for example, we have a character's status quo, that is, the character at the beginning, then something happens, that is, something happens that shifts him from the status quo and moves him from his place. Next we have some help. That is, the hero meets someone and receives some help.

[00:08:37]Further, after this help, the hero's transformation begins, after which there may be all sorts of helpers, mentors, trials and temptations. Then, when he reaches a certain point in his development, some kind of heroes down happens, right? That is, some kind of failure occurs for the hero.

[00:09:00]And this is usually some kind of point, ah, of the highest emotional decline, right? That is, when we don’t know whether a person will get out. And after that, if a person gets out, goes, well, or a character, yes, there is a transformation, a reward and a return, that is, the status quo. And the status quo returns, but the character has already been changed by these events. Further details may vary. That is, it can go negative, it can end here, it can happen without any of these, uh, let's say, supernatural help in returning anything. But in fact, this scheme will more or less fit any narrative, even if we watch, well, we won’t watch such a post-modern modern one, let’s say, completely after the fifties and there some Ai, yes, well, we won’t watch some early 20th century. Let's look at some classic literature.

[00:10:05]The beginning of the 20th century will also fit into this 90%, even if it will to some extent break this model or turn it upside down. So the question here is not how it worked, right?

[00:10:18]Why didn’t this very same model, such a logical model, work in Japan?

[00:10:27]Historically, it did not work out in Japan.

[00:10:30]Firstly, in Japan, in principle, there is a different concept of time. That is, if we look at Aristotle’s triune system, 1 2 3, then the status quo, that is, there is a hero, there is development, there is an ending, that is, the beginning of development, ending. There is a moment in the Japanese process now. So you have a timeline, you have what will happen next, you have what was, and you have the moment now. And this is the moment you find yourself in now.

[00:11:09]And this moment does not always have some indirect relation to what was before and what will be after.

[00:11:18]That is, we are locked into this moment; it does not receive any further factual development. This is very closely tied to the Buddhist concept of muja, impermanence, because any moment is very impermanent. This moment is here now, and next time it’s the next moment. That is, in fact, if Western logic in narrative implies that we have a certain curve, yes, that is, we are moving along a certain line, then the Japanese narrative, well, the Asian one in many ways too, but today we are speaking Japanese, it will exist fragmentarily, there is no curve, there are points that are not always connected to each other. Therefore, this absence of such a, let’s say, logical narrative, it does not oblige, this narrative, it does not oblige one to justify oneself with a conclusion.

[00:12:18]He may not have a conclusion at all, because the story was not told to you for that purpose. Any story has been told to you. Yes, even if you and I look at history, mm, from the point of view of how it is somehow told in order to show you something, just to show you a piece, to let you peek, uh, to let you feel like you are part of this story, instead of this story teaching you something.

[00:12:51]This story, in general, any Japanese narrative never teaches anyone anything, because literature had a different social function. The social function was to record a moment in time. All.

[00:13:08]Well, it's clear that this can be done in different ways, but in fact you have mm a piece of time that you want to look at. So, Japanese literature, and later Japanese cinema, shows you this very piece of time that you want to look at, even if this time is fictitious, there is some kind of ghost story or something else. They will, of course, have a philosophical subtext.

[00:13:34]They will, of course, have a narrative that tells you something, right? That is, they tell you any story anyway, but there is some content. That is, you are shown the characters, their choices, but you may not be shown how the character changes. You may not be shown how the character experiences good or bad things, or anything at all happens to him. They may simply show you a character and tell you his story. That is, look, and this is what happens. Now you see how it happens, but what do you think about it? That is, it is more like this. If we talk about later stories, for example, about the Edo stories with ghosts or something like that, uh, their function is generally either to entertain, uh, or to tell a person some kind of Buddhist postulate, in general. Well, nothing special. And if we look at all, look, this is, accordingly, the literature of the Khian era, which I often talk about. And, um, why am I showing it to you here like this? Because, ah-ah, this is what Japanese cinema will look like 1,000 years from now.

[00:14:49]When people ask me, uh, something like: "What should I read? Oh, what translation should I read of the hypothetical Genza novel, or what translation should I read of the hypothetical Saisonagon?" I can't tell you directly like that. Well, firstly, because Soviet translations are heavily edited in many versions. Mm, at least from the point of view that, for example, the same Seisnagon wrote things that were not pleasing to the Soviet Union and they were simply not included in the collection, for example. Uh, the story about Gen was also touched upon here in many ways. And the Japanese narrative of this period, which was told on the Ikimono scrolls, is not homogeneous.

[00:15:35]What do I mean? That is, when you unroll the scroll, you see at the same time what it is written on. That is, you see the scroll itself, the paper, the background, you see the image, you see the text.

[00:15:45]And you see the handwriting in which this text is written. And, uh, in the Japanese concept, this inseparability of text from image, it began to manifest itself precisely then. By the way, it’s very important to understand in general, when you look at even modern manga, yes, that is, when you read manga, when you watch anime, and you perceive it from a Western point of view, that you have a picture, there is a bubble, and in the bubble there is text. And so you read the text, and perceive the picture as an illustration to this text. There is no need to do this, because in Japan, text is as important an element as illustration.

[00:16:28]You read the illustration in the same way you read the text. It is part of semantics.

[00:16:33]And this is very important to understand, because cinema will work on exactly the same principle. En will be part of semantics. That is, what you look at and what is shown to you in the picture will be just as important as the text that the characters say.

[00:16:54]And in general, when you and I look at this Japanese literary source, for example, about Isaminagatara, for the first time, actually, back in the Hayan era, that is, a thousand years ago, it gives us a completely different alternative to this Western telos, yes, the body of history. And the fragmentation that I spoke about is fundamental there, because Isama nagatare, the story of obysa, is not connected by plot. These are poetic prose sketches that are connected to each other, but very relatively. And, uh, let's just say, they're going to be very difficult to work with if you try to perceive them in the same way you, uh, would perceive them now, just a second, yeah, in the same way you would perceive, uh, a Greek tragedy. They don't explain anything to you there. That is, look, you are told what the character does.

[00:17:51]And the character, using the poetic and figurative methods available in the Yang eras, tells you what he feels and what he thinks about it. But it doesn't explain to you why the character acts this way.

[00:18:08]You are shown the character himself, his actions and his reflection on these actions. But why does he act this way? This is critical because we cannot provide an explanation for another person's actions. We can only perceive them as we ourselves as individuals. And this is precisely why we often encounter repetitive situations instead of development. That is, the character finds himself in some recurring situations not because he is stupid, but because he is who he is. This is his xu, his essence. And any closure in Japanese history is generally conveyed through a certain resonance, ae, of the character with what is happening and the character with the reader or viewer, and not through a conclusion.

[00:19:08]That is, the meaning of the story told to you is not in what it taught you, but in what it made you think, what question it made you ask, and how it made you feel.

[00:19:24]But least of all and almost never, Japanese history will teach you nothing. This is, in principle, a different branch of development of the very idea of ​​​​a story about something, which is completely different from the standard Aristotelian approach.

[00:19:44]And so I told you that in Aristotle, in general, all of this was divided into, let’s say, a beginning, a plot, and an ending. In fact, in Japanese the rhythm of a piece works differently.

[00:20:01]For example, at the Non Theatre, he will also work there.

[00:20:04]We have an introduction to people or a field opening. That is, when they show you where and with whom what is happening.

[00:20:11]That is, in general, well, they bring you up to speed. Very often, for example, in Japanese cinema, especially in classical cinema, they show you a character directly, make a freeze frame and write that this is such and such, do this, this, this. Then they introduced everyone to you like this, and then they went on to tell the story. Then there comes such a rift or disruption, that is, some measured, habitual order of this character’s life is disrupted by something.

[00:20:43]And then, basically, I'll let more people in now. And then, basically, all of this, uh, let's say, collapses, I would even say, because it doesn't always change the character. And the meaning of this rupture of a single system with multiple versions, well, let's say it this way, it tells us not that the rupture of the system changed a person's approach, but that this change in the system took place and this person reacted to this change in the system in this way. And then the story will simply end. Well, imagine, for example, there would be a short film where a man sits and writes something all the time at the table. Here he writes, writes, writes, writes. They told you what kind of person he is, maybe what he writes, maybe they did n’t tell you, but you’ve already looked at this. This is setting the frame, yes, and then he writes like this: one day, he writes two, he writes, three he writes: “I take a break there for lunch, dinner, sleep.” And at a certain moment, when he is writing something very important, a dog starts barking outside the window.

[00:21:58]He raises his head, stands up, and closes the window. And this is precisely the very same breakdown of the system.

[00:22:08]And then he sits down and continues writing again.

[00:22:11]All. This is the system that I am telling you about. How does this character make you feel?

[00:22:21]Ah, what does he write? What does the place where he writes look like? what he's wearing, uh, what's his facial expression, additional symbols. All this is what you read as a story or watch as a work of art, yes, in this case, cinema. And without understanding this system, it would probably be very difficult to perceive classical Japanese cinema at all. By the way, many people find it difficult to watch classic Japanese cinema precisely because of this.

[00:22:56]Because, for example, even in the same Takian story, for example, which many people tell me: “Oh, I love the Takian story so much.” Many people couldn't finish watching it because they found it to be slow. Yes, everything is there, everything is different, it happens to everyone. They did n't try, but try to apply this very system to it. You are entered into a field first, right? That is, they simply show you the course of these people’s lives. Then there is a certain gap, a certain violation of status quotas, which, in general, does not lead to any significant change in the hero’s life in the end.

[00:23:35]That is, there is nothing like that, even because there was some kind of emotional impact and even because there was some kind of emotionally charged dialogue.

[00:23:44]That is, we returned to where we actually were. And very often we do n’t perceive what we should perceive in Japanese and in literature, and, in general, in cinema as well. And I mean animation here too. This is ma. Ma ma is emptiness. I always explain very often in my blog what this emptiness is. I very often talk in this thread about how it works in painting, how it works in literature, how it works in general.

[00:24:17]But here I will explain it again. Ma is that absence of a word in dialogue, or the absence of a close-up shot, or the absence of anything at all, or just static.

[00:24:31]That is, it is this emptiness that makes you ask yourself a question, enter into a dialogue within yourself.

[00:24:39]In general, classical Japanese cinema, just like classical Japanese theatre, works on the principle of involving the viewer in what is happening, emotionally involving the viewer in what is happening, and not teaching, not discussing. And this emotional inclusion of you in what is happening, it happens precisely through this emptiness of the mind, which, in general, will work there. And now we'll look at a few of these Japanese classics that, if you haven't seen them, you should definitely watch them, if you want to, of course. Here. If you've watched it yet, I'd be very happy too.

[00:25:20]Well, I think that maybe I’ll tell you something new. But I have already recommended most of these films, in general, in my Friday movie recommendations, but still. So, look, let's look at Rose's trial for the first time. Jesus Rose is such a classic. He didn't make films for Western audiences, he made films for domestic consumption. He was a very specific person, very withdrawn, very quiet. And he has a very famous trilogy with three Marikus, yes, this actress, who, by the way, absolutely admired him as a director in all three films of her heroine Mariku, although it is not the same heroine, these are all three different heroines, but the three films are often perceived as a Mariku trilogy. And this is precisely the Takian story. Mm, late spring and early summer.

[00:26:14]This is where you can see the whole thing in a really cool way. And this story will fit very well with that, uh, by the way, this trilogy that I told you about, I highly recommend it.

[00:26:30]In principle, these are some kind of life-affirming things. It's the fifties, yes, and life-affirming things, in general, are based on the story of this woman.

[00:26:42]tells in its various manifestations. And here, uh, when you watch this, if you decide to watch only one, I recommend you watch the Takiyskaya story. If you decide to watch all three, well, okay, great. And please look not at what is happening in the frame, but at what is happening when nothing is happening. That is, when they show you, ah, that people are just sitting on the tatami and talking about what they will have for dinner or sitting by the bed of a sick mother and waiting to see if she will die or not. The review actually came up with this cool thing about making you feel like you're actually in the frame, because he put the cameraman with the camera on the tatami mat in the next room. And in fact, you always have the feeling that you are present in the same room with these people. It feels like you're always sitting a couple of meters away from the characters, and together with them, like an invisible character, you're experiencing what's happening together, what's happening in the frame.

[00:27:54]This does not give you the right to intervene, but it does give you the right to be a present observer. The Takian story, again, will tell you about the internal problems of absolutely all of these people. She will show you the trigger that revealed these internal problems. And it will show you how these heroes were forced to face these, let's say, internal problems. or they won't show it, yes, some weren't able to meet them face to face, but no one will tell you what they got out of it. These findings should be made by you, as a person who sat next to them on the tatami and, in general, listened to them. Here. Uh, this is, by the way, a very famous shot, which was later used by many people, and later, yes, in Japanese cinema. Not only in Japanese.

[00:28:47]By the way, I'll show you the quote at the end. In Western cinema from Japanese. But late spring is exactly that, yes, and late spring is exactly where tavaza comes from.

[00:28:59]This is a story about an adult woman who lives with her father.

[00:29:04]They have their own little world, everything is okay and wonderful, but she has to get married and, basically, go off to the next stage of her life without her parents. This is very difficult for her. And at the moment of her realization, when it is inevitable, they show that very vase, the one they showed you, the one I showed you on the very first slide of our lecture. Here, by the way, you will see a lot of influence from traditional Japanese painting and the static frame in general. In general, there are a lot of static shots, which are important for the plot.

[00:29:43]But when they show you some object, a lot of emptiness, and they show it for a very long time, you can immediately read to yourself that this is another concept that reappeared in the Hayan era, when the Japanese narrative system and the first novels appeared in general. And painting, yes, such basic Japanese painting, when you tell the whole story through hours. What do I mean? You are not shown lovers on spoons. You are shown an empty mat and a fan thrown onto it. They don't show you someone crying [clearing their throat] in grief. You are shown a curtain fluttering, er, and rain falling outside the window. That is, you draw conclusions through symbols, and everything works on hints. Nothing is ever said directly.

[00:30:40]Yes, it is still the tradition of Hiyan that has passed into such classical cinema.

[00:30:45]And here it is really important to understand that, uh, that is, by the way, I am often asked about this in various lectures, including the fact that the Japanese are so unemotional, that is why their films are so slow and unemotional.

[00:30:59]No, guys, the Japanese are the same people as everyone else. They are very emotional.

[00:31:03]Well, some less, some more. It's just the way of expressing that emotion, it works differently. That is, if you say: "Oh, how beautiful!" Then the Japanese will show you a leaf or something else. That is, it is a completely different way of expressing the same emotion that everyone else has. These are such miscultural misunderstandings, yes, I would say. But if we look at a completely different option, we look at Kurasawa. Kurasawa. Well, basically, it's about the same period as the recall, but it worked in a completely different way.

[00:31:38]Kurasawa is probably the most un-Japanese of the Japanese classics, but with all that, without Kurasawa and without what he made, there would not have been, by the way, the classic American Hollywood cinema. Firstly, because Rashiman completely changed it, and the understanding of how a detective story works, how a thriller works, how, uh, an unreliable narrator in cinema works and how, in general, uh, let's say, a film without a conclusion, [clears throat] which was first shown to Western audiences.

[00:32:26]But in general, the film itself is based on a story about Kutagaov, but the story itself is so insignificant, I would say, like, if you want, read it, but here the film is, it’s like, twice as good. And the plot of the film, if anyone has n't seen it, is that at the very beginning, in this opening scene, we show you that a samurai was killed in a bamboo grove.

[00:32:59]And then they show you who could have done it. And each new story, yes, this very story is told to the monk by two travelers under the ruined gates. And in general, every new story, you look at it and say: “Yes, exactly, that’s how it was.” But, in general, the next story will completely change the narrative. And they wo n’t tell you who actually killed the samurai. And at the end, in the last frames, they will tell you that the film was not about this. This is very typical of Japanese cinema in general and of Kurosawa in particular. But Kurosawa did more than that. By the way, these are shots from Reman. Here you are invited to be an independent judge. That is, the characters who tell what really happened to the samurai, they tell it to you, as the judge.

[00:33:50]This, by the way, is very important and is very noticeable, because we noticed how a person is constantly included in the narrative in Japanese cinema.

[00:33:59]You always either watch it as a theater, but, and this is quite a picture in Kio and Mogatari from Giyan, or you are actively included in the story. And the second film about Kuras, which I highly recommend watching, is Sim Samurai. Uh, I would say it's that movie.

[00:34:20]Look, guys, when you watch absolutely, when you watch Ocean's Eleven, you watch Seven Samurai. When you watch Marvel's Avengers, you're watching Seven Samurai.

[00:34:34]When you watch Star Wars, you watch seven samurai. Any story where there is a need to assemble a team, do something, come to an agreement, train someone and save the world, it is all based on the narrative of the seven samurai.

[00:34:55]The idea there is, basically, that a village that is being attacked by evil samurai hires non-evil samurai to, well, protect the village from them. Here are all the visual cliches that you are accustomed to in the cinema of the nineties, eighties and 2000s, and which, of course, are still present today, especially in Vlyan cinema. Mm, they're from there. The hero who leaves, ah, from the battlefield into the fog, without turning around, showing this very field, as you can see here now. It was first used by Kurosawa in the Seven Samurai. And this gesture, when two people are fighting with swords, and one makes a movement with the sword, and in fact he has already killed the enemy, but the enemy continues to stand for another second and only then falls. This is also the first time Kurasawa used it and then everyone from Goriche used it constantly. That is, there was everything: someone leaving somewhere against the backdrop of an explosion of fog or rain.

[00:36:04]These are the seven samurai. A comical, tragic character who ultimately saves everyone, but it is not a fact that he survives. Seven Samurai. Tony Stark, if anyone, yes, one of the Avengers. And the characters are walking somewhere in a line. A long, broken shot of, uh, the sea in the background. Yes, this is not a frame from The Lord of the Rings, it is a frame from the Kurasawa samurai family, which is also quoted by absolutely everyone. Footage from the Seven Samurai of Kurosawa is quoted almost verbatim. This is interesting. That's why many people watch Seven Samurai, and I'm not interested. I've seen this all 35 times already. Well, yes, you really saw it 35 times, because Kurasaba was the first.

[00:36:54]And in general he used it. And the whole narrative that you have here now, it will be, and by the way, Yoda, yes, and Master Yoda, who completely copies the gestures of the most important samurai of the seven samurai. And many Hollywood westerns and many, well, let's say, costumes from famous films, they are directly quoted from there, right? That is, you can keep this in mind right away. And look at Seven Samurai, you'll find a huge number of references. You can sit right here and do this. This is also quite interesting. And mm, there’s another director I want to talk about, again, I’m not talking about all directors, I’m talking about how they work, uh, how, let’s say, Japanese cinema influenced and how this whole thing works. Here's Kitana, despite all his mafia-style hooliganism, yes, because Kitana is probably also known by many of those listening to me today, he consciously returns to the fragmentation that Otzu used. And Kitana, unlike Kurosawa, is much more Japanese, despite the fact that he is loved and appreciated in the West, right? M, than Kurosawa, for example, I showed a frame from his dolls here.

[00:38:17]Dolls are a very traditional narrative from a Japanese point of view.

[00:38:25]Firstly, it is very fragmented. These are short stories.

[00:38:29]And novellas that are connected to each other in terms of plot only by a repeating action or a repeating scenario.

[00:38:37]And secondly, these stories never end with anything. That is, there is some turning point, but they, well, they show you at the same point where they left you. They have a running plot, just like Isama Nagatare has one. And just like Isama Nagatare, the story of the dolls develops more in the visuals than in the dialogues, of which there is actually very little. A separate lecture could be given on Takeshakitan dolls.

[00:39:10]This is a wonderful movie. The same as, in general, with the Bunrako puppet theater, a-e, which is used there fragmentarily and the narrative of which, in general, is also used there, that a person is a puppet.

[00:39:24]Bunraku puppet theatre has nothing to do with children's theatre in Japan. The same dramatic theatre as e no, in general, even Kabutki. And now, as for the visual component, pay attention, all those colors that I periodically talk about, ah, all those symbols that I tell you about, they will be read here the way I tell you about them, yes, about sakura, and about yellow, and about green, and about the construction of the frame, and everything else. That is to say, this is probably the most Japanese of modern cinema that one can imagine. Well, visually it’s a masterpiece, in general, but I can’t really say anything about that. And Kikuujiro.

[00:40:08]Kikuujirou is more like this, I talked about him recently, I won’t focus on him too much, uh, but he’s more typical for, let’s say, for Kitana. But here I want to draw attention to the fact that what is usual, that is, this is a kind of roaming, I would say so. But what usually happens in Western cinema is the final scene, that is, he basically went to help the boy find his mother and understand what was going on. And usually, he finds his mother at the end, but here he finds his mother in the first third of the film, not even at the beginning, but in the first third of the film, and then the events develop in a very Japanese way. And this is something I really highly recommend you watch without any bias, yes, again, none of the characters have names. And why the film is called that way is also, in general, only shown in the last frame.

[00:41:16]Well, I won't dwell on it here.

[00:41:19]I do exactly that, and of all modern directors, I always highly recommend watching Karaeda. This is the very everyday life of Ozou. He probably even quotes the review more than even Kitanov. He makes films exactly like the reviews did, only with modern characters, modern challenges, yes, modern problems. I highly recommend watching his monster, which is simultaneously quoted by both Kurasawa with his Rashiman and Karaeda with his Takii story. His works are always very deeply psychological. Again, they never teach you anything, but they do a great job of revealing the problems of modern Japanese society in general. Well, and not only Japanese, yes. I think there are some international problems there.

[00:42:08]Here is my recommendation to immediately watch Monster as a reference to Otzu and Kurasawa at the same time and how it came together.

[00:42:25]And, well, I can't help but say something here. I know that many people were probably waiting for me to talk about Miyazaki. I can't help but talk about Miyazaki, but Miyazaki is the person who translated this very Japanese logic of Japanese narrative and made it understandable for a global audience. It was actually practically impossible to do, but the film that made Studio Ghibli famous, My Neighbor Totoro, probably became so popular because it touches on such deep, archetypal childhood memories and ideas about how this world works, that they are deeper than national color, I would say, they are deeper than anything national.

[00:43:17]And mm again, yes, and about Toteru's neighbor, and about Miyazaki's Spirited Away, and even about the Heron Boy, the boy and the modern Heron, it is possible to make separate lectures, separate analyses.

[00:43:32]Yes, I know that in general, because many people probably wanted me to do it, many people asked me to do it, but guys, whoever has a working microphone, now I’ll turn you off, yes, now. Thank you. Ah-ah, the thought, the thought has gone away. Here. And it probably needs to be done. Very often, uh, I hear analysis that Tatoro is a bear, that Tatoru is a cat, that Tatoru is some other animal. But, uh, here I would actually say that, first of all, if you remember, uh, what the girls' father did for a living, you'll remember that he was, basically, a professor of literature and a professor of translation.

[00:44:19]And Totoru is a metaphor for this, let's say, Japanese mispronunciation of the English troll and very strong references to the place where the girls actually played. There are also a lot of Buddhist references, both with the red shoe and with where the little girl was found later. That is, I have heard many variants that Tatoru is about the trace. Tatoru is not about the trace. Tatoru is about life. But despite all this, Tatoru is a very good representation of Japan in the fifties. So, if you want to see how society worked during that period, you can look at this. And because this is just 1950 Japan. And, probably, here I would say, for the sake of understanding, and these people were, perhaps they seem to you like simple Japanese people who moved to live outside the city. Well, because it was quite problematic to live in the city in 1950. It was nowhere near as clean as we perceive Japan to be today. Let's do it this way. The fact that their father had money for public transport meant that he was a very wealthy man.

[00:45:42]You can just look at it here at least from this point of view. Accordingly, Spirit Away has a huge number of aa references to Japanese mythology. Even though Mizaki himself said that he didn’t want to quote Japanese mythology here as it is, right? That is, straight ahead and just use the characters that are there. But despite all this, at some points you can take freeze frames and tell us, in general, from which ghost all this came. For example, the same Faceless One.

[00:46:19]A-e, he is very often described as wearing a Noh theater mask. But in fact, this is not a Noh theater mask. This is the mask that was worn.

[00:46:31]I don't remember, I left it here.

[00:46:32]Unfortunately, I didn't leave it. This is the mask that was worn by Bunraku and Gagaku dancers, yes, there was music and dance. And uh, these masks, they basically called upon certain spirits, mm, they basically invited them to come in with her and inhabit these people. That is, in fact, a faceless person is someone who does not have his own personality, and someone who reflects the personality that is next to him.

[00:46:59]And this could be read exclusively by the mask. That is, having found himself next to the SN, he became who he became and who, in general, he was seen as.

[00:47:09]This is also important. But here it can be looked at separately. If mm, you want more, I’ll go through the classics now, and I’ll touch on absolutely everything now. I'll now touch on everything from classic horror and the New Wave to, you know, to this, well, complete comedy.

[00:47:32]Not to say: “Oh, this is worth watching, this is not worth watching,” but so that you, in completely different genres, so very different, from the very high to the very low, could understand that this system works not only in the high conventional poetry of Odzou and Karaeda, but it works everywhere. And now if we watch it now, the first thing I highly recommend you watch is Masaki Kabayashi Squaidan. I think in Russian it's simply called Kaidan. And this is a collection, well, originally it was a collection of horror stories that samurai of the Edo period told each other. But in fact, this is what was later collected by an Irish journalist, Irish-Greek, Irish-Greek-German, okay, journalist Lacardioch Kirn, who, in fact, came to live in Japan, married a Japanese woman, and he published the first collection of stories with legends and fairy tales, which he, in fact, collected in Japan in English. And here is Kwaidan, it was filmed very well based on these fairy tales. There are just those very ghost stories that very well show the attitude towards the supernatural and relationships. There is also a snow woman there, which I told you about in the podcast last year. Oh, and there's also a story about a blind monk who played for the Tyran troops, who then turned into these little crabs that I told you about in the souls, which turned into little crabs, which I also recently talked about in stories. There is a story there, similar to the story of Oyva, uh, who, in general, died waiting for her husband. But in fact, Kwaidan is a kind of mythological Japan, from which all these horror films that you watch now in modern times grew. But at the same time, Kwaidan is not scary at all.

[00:49:30]That is, it can be watched in parts.

[00:49:32]And the woman in the sand is a film adaptation.

[00:49:36]Accordingly, women in the sand. And it's such a classic Japanese new wave of the sixties.

[00:49:44]And about the interaction of man with society.

[00:49:49]I won't say anything here, you absolutely have to watch it, but here, uh, is a very visual narrative picture.

[00:49:58]And from something lower, well, how low, yes, let's do it this way. Again, I suggest different genres. First of all, I suggest you definitely watch the modern films based on the computer game Exit8, which, uh, in which, basically, nothing happens. The man is walking in circles, and it is positioned as a horror film. I wouldn't call his films horror films. There is one such nerve-breaking, somewhat heavy scene, closer to the end, but it very well demonstrates the emptiness, very well demonstrates that very plot development that I, ah, told you about, and very well demonstrates the absence of a change in the character's status. This is that very low genre that I told you about. This is a film adaptation of a manga, as far as I know. I have n't seen the manga, but I have seen the movie, and it has a typical time-traveler plot about how an ancient Roman ended up, basically, in the Japanese Ansen and then tried to implement it in his own Ancient Rome, because he jumped out of it there. This is a comedy.

[00:51:15]Aa absolutely so perfect. She she she is funny in Japanese. That is, if you want to see something that the Japanese laugh at, you can watch Termoramaya and see how, let's say, the plot of the samurai court of the Japanese Middle Ages and modern times is transferred to the plot of ancient Rome. It's quite funny to watch, actually, among other things. But, uh, let's put it this way. Humor in Japan is the topic of Aldi's lecture. And, uh, I also highly recommend you watch this historical film. I’ll probably write about him again on Friday, tomorrow, or maybe I won’t, we’ve already talked about him. This is the samurai race or Sankin Katai. This is a historical film, and this is a historical semi-comedy, semi-adventure.

[00:52:14]about the fact that I, in general, also talk about in stories. This is a kind of legalized extortion of money from regional feudal lords by the shogun during the Eda period, when it was necessary once a year, or there, if you live further away, once every 2 years, to gather with a huge gathering with all your people, with a big parade and gifts, to go to Tokyo to bow to the shogun. It all cost a fortune.

[00:52:48]This led to the physical size of the tourist infrastructure in Japan at the time, because all of this still needed to be fed and housed somewhere. But here it’s also, well, let’s say, a kind of detective story. This is a historical film about this phenomenon with a detective, uh, background. And the last film that I actually want to tell you about is Myoji or Master Yinyan, as far as I understand. Well, first of all, it's a kind of, it's a conditional fantasy, filmed on the fly, but, mm, it's good because it shows a magnificent reconstruction of the costumes of the period, which I told you about today. And she turns to a character who is probably equivalent to the Japanese Merlin. This is Abenosei, uh, who was m well who were the O Myoji in the Hiyan period? These were people, you know, my God, these were people with higher education. Let's do it this way. These were magicians, and fortune tellers, and doctors, and architects, and lawyers, and everything in a row. They predicted everything and treated the stomach, they did everything. Abnus was one of those people. Mm, there are a certain number of, uh, very ancient stories about him. and a certain number of not very ancient stories from the Japanese late Middle Ages, already the Eda period, which, uh, were reworked in the 20th century into a series of short stories based on all these ancient manuscripts and turned into these detective stories with a ghost. Very watchable. By the way, I highly recommend it.

[00:54:31]By the way, the main role and in general here is very often played by an actor who, in fact, in Japan is a theater actor in the comedy department of the Nokio Gen theater, which I told you about. It will be very interesting, in general, to see how he does it. I'll just finish the final part here, because this is, as I say, a short introductory lecture that, in general, maybe will allow you to dig into this series a little deeper. I might still make some additional materials about this, but I see that someone wrote something, so I’ll open the comments first and read them. So, ah, here, uh, Natalia writes: “It turns out that a story without a moral is meaningless.

[00:55:25]That means the story is unfinished. Just like an explanation of a picture at a modern exhibition. No, the artist sculpted the explanation. No, look, I don’t know why it made such an impression.

[00:55:34]Mm, it’s just that Japanese narrative, it doesn’t seek to teach you anything, it seeks to ask you a question. That is, when you watch, read a Japanese book and watch Japanese cinema or look at Japanese painting, it is not meant to give you, it is meant to give an impulse.

[00:55:56]That is, it is a kind of cross-section of life. So, when you look, and something happens on the street, it evokes some emotions in you, some thoughts, and here they show you a plot or write about a plot. In this plot there are some people, they have some dilemmas, they have their own lives. And these stories, they are meant to be told in such a way that they, so that you a) experience some emotion and b) you ask yourself some questions, because they sometimes put you in very uncomfortable situations. For example, there's a film called "There Is No Evil."

[00:56:30]I've already recommended it. Uh, maybe I'll recommend it again. There, uh, they give you two points of view. And one point of view is right in its own way, and the other point of view is right in its own way, but their interests don't coincide.

[00:56:49]And since their interests don't coincide, they're evil to each other. But are they really evil? And so you're shown this story without judging either side. They show you what happens in such situations, putting you in a very uncomfortable psychological state, but they force you to think about it. So, Polina, how much is the structure of Japanese cinema connected to traditional Noukabuki and bunraku theater? It's very connected. And for some people it's more, for others it's less. It's more connected to Kabuki theater.

[00:57:24]Ah, but, but modern Japanese animation is more connected to Kabuki theater, because Most of the facial expressions, most of the gestures, most of what happens on the screen in Waniwa are taken from traditional Kabuki theater and often from organized Bunraku theater, where there are fixed poses that allow for expression. And Noh theater—let's say it's more like high art in school, not low art. It remains high art. That is, when you watch Suddiru Odu, it will refer you to Noh theater. And when you watch Takeshkita, it will more likely refer you to Kabuki. Aa Natalie asked: "So, why did the Japanese like Dostoevsky and Tolstoy? They skipped the moral part and enjoyed the descriptions of the highlights.

[00:58:14]Not really. Look, aa, in Japan during the Edo period, a-e, a very interesting genre appeared. This genre was about, well, let's put it this way, the main plot of this genre was, uh, the discrepancy between what a person feels and what a person demands from a person in society.

[00:58:34]And it was one of the most popular genres in Kabuki theatre. Since we have some noble samurai who serves some master, and then he falls in love with the supposed daughter of his master, they cannot be together. This leads to a tragic ending. Here. And, accordingly, Dostoevsky with his character, he is, let's say, not in the Brothers Karamazov, not in Crime and Punishment, not in, let's say, well, certainly not in an idiot.

[00:59:14]There is no direct condemnation of the character. So you can judge them, please, right? That is, this is your personal perception of this matter. Here is Tolstoy too. That is, I, for example, always thought that Prince Andrei was a disgusting person, a total nasty one, but many people disagree with me.

[00:59:36]But Tolstoy and Dostoevsky used this narrative, including, by the way, Tolstoy quite consciously, because he, he had information, let's say, and it was written about in his diaries. aa Japanese narrative as well, because they used not only what was added in the UIT. And this lack of condemnation of the character resonated very strongly. But plus, this tragedy had an impact, especially in Dostoevsky’s conflict with the sense of duty. Yes, this sense of duty is constant.

[01:00:11]So they are prototypes of the canonical moves there, right? Oh yeah. Here Kirill said literal quotes from the samurai family. There are ten. So, if you start watching Seven Samurai, you'll see half the gestures from classic Japanese-American cinema, uh, and you'll be very surprised at how much he quotes there. No, everyone quotes the seven samurai. Every time I am very surprised. You should watch it at least for this reason. And so, aa, Renata asked. I wonder if there is some kind of Japanese peculiarity, a cinema theater?

[01:00:49]And I remembered the Aldarul of my car. There is also a theatre there, but a different one, of course. Yes, sure.

[01:00:56]Theatre stylizations. Well, they exist. And so, for example, I told you today about e onzhe, yes, this fantasy in the Khian period, which I recommended you watch. It was filmed in the style of a theater in a movie. This is exactly how it can be done.

[01:01:17]Where can I read more about the meaning of the visual symbols of such hint-vocalizers? Oh, listen, [clears throat] [laughter] very often I get the question: "Alexander, give me a dictionary, give me a dictionary of colors, give me a dictionary of symbols, give me a dictionary, that's where I can read about all this, guys. Yes, if I had one, I would give it to you. Honestly, I do n't mind at all. I don't do gatekeeping. Mm, here it's more necessary, look, if we take one symbol, I wrote to you today, but only about, I wrote today in the blog about the karakus ornament, how many and how often and why it changed and changed its meaning, how it was all read. But if you want to understand Japanese cinema and how it works, I advise you to take, yes, even the Soviet translation of the Seishonagon Pillow Notes and read it. You see, it says that the wife of such-and-such a minister was very fresh today in an outfit of such-and-such a color.

[01:02:29]Then it describes the outfit of such-and-such colors, and then you remember everything I wrote about colors, and you understand what she thinks about this lady, and this lady thinks about what's happening around her. Or when you look at mm, try to read between the lines at least, right? That is, it is clear that if, uh, they show you a piece of a bedspread and a fan is lying around, then, most likely, a love scene is happening in the background. Well, that is, well, you can even try to read like this. You can try watching my, my, my, my lecture on the Noy Kapuki theater, because there I talked about symbols that are very often used. Right here, right about symbols. And mm, they can be transferred to cinema, because cinema very often quotes these genres.

[01:03:17]So, Elina asked: "What do you think about the Shogun series?" Oh, okay, guys, let's do it this way. The Shogun series is a very expensive, magnificent, costume reconstruction. Yeah, let's do it this way. The costumes are magnificent.

[01:03:35]That is, what they did with the reconstruction of everyday life and with the reconstruction of costumes is beyond anything Praise. That's how it was during that period. But what they did with the Shenpnaya line, of course, doesn't stand up to any criticism. There. But, uh, this is still a film adaptation of not a Japanese novel, but a very American-British novel from the sixties. This has its own, let's say, limiting parameters of such a very Western approach. But, uh, if you want to see what the history of the formation of the Shogunate in Japan looked like in general and what the period of the formation of the Shogunate looked like before the period, this is the Muramachi period, just when Western expansion was taking place, Japan had not yet closed off and there were quite a lot of Europeans there. That, of course, can be watched very well. And I will recommend historical dramas, because you just gave me a great idea, and tomorrow, instead of one film recommendation, I will throw in a few historical dramas. There is a wonderful drama about the publishing industry of the Edu period. There is, uh, a wonderful Sankin Katai. I recommended Sankin Katai to you today, you should definitely watch it. This is precisely a historical drama. So.

[01:05:03]Oh, which of the Japanese directors best understood the Japanese way of telling a story?

[01:05:10]Good question. Listen, ah, I don't think that non-Japanese directors need this. Uh, I wouldn't say so.

[01:05:22]Hm, actually a good question. And right now, I can't think of a single director off the top of my head who didn't have a classic or abbreviated or inverted hero's journey.

[01:05:38]I'll think about it, right now, unfortunately, I can't answer this question right off the bat, that it was a European director who filmed in the Japanese style.

[01:05:48]So.

[01:05:50]So. And I also became interested in how literature lessons were conducted in Japan back then. We search for morality, good and evil, analyze the climax, some conclusions. That's how they teach children in Japan back then.

[01:06:02]Good question, actually. Uh, but in Japan, they teach through immersion, that is, uh, people read, that is, children read, and they are asked, in Well, they write, so, well, they write retellings too, that is, what did you even understand from what you read? Symbols are analyzed precisely in school, that is, what it all means, not what the author wanted to say, but what this symbol means. And in cultural immersion, they play out walls very often. Well, that is, they do it in different ways.

[01:06:34]But Nadezhda said that in Kaidan, the battle on the water is also very theatrically depicted. Yes, by the way, Kaidan is very theatrical. So Kaidan, and he myoji - this is also a very theatrical work.

[01:06:49]And so no one got it. Why do Japanese cinema use techniques so often? The moment after the event, the empty room, the landscape, the silence, as if the emotion passes later than the action itself.

[01:07:00]Why is this moment so important for awareness, for slowing down, or is it precisely a depiction in the Japanese way of an emotional peak? It is precisely a depiction in the Japanese way of an emotional peak. That is, when the heroine suddenly realizes that her life is changing dramatically, we do not They show a close-up of the heroine's face because, uh, on her face, well, it's some kind of subjective experience of hers, and it's important for the director, or the author of the book, or the artist, to show an example; it's important for him to make this experience less subjective, more objective and convey it to you as a viewer. So he shows, he gives you this emotion, and then shows an empty space and places you in this emotion. So, this is also an interesting technique. Oh, and Kirill wrote: "And there's also an interesting anime, the double suicide of Furakuga." The genre of rahuga itself is interesting shown there. Essentially, the plot of one famous Rakuga is woven into the plot. Yes, this is a question about theater and cinema. The question is about the theme of double suicide, which Kirill just mentioned. I told you that during the Eda period, a plot about, uh, let's say, about a person experiencing an internal struggle between duty and feelings became very popular in the Kabuki theater. And so the theme of double deaths, it is, in general, just in This genre flourished very actively, because the only option, for example, for lovers to be together was this.

[01:08:37]Nadezhda raised a wonderful question.

[01:08:39]What could you say about the film " Silence" by Scarcesa? And it was filmed based on the book by a Christian, but a Japanese one at that.

[01:08:46]Look, firstly, there is a Japanese film adaptation of the book "Silence" based on the film "Silence".

[01:08:50]Scarcesa wasn't the first, Scarcesa was the second. It's also called "Silence". You can watch it too. And it's much more Japanese, introspective. That is, it shows a little better what the book was about. And, secondly, silence is very, and, as I would say, Scarcesa, a Japanese author, when he tells you a story in a film, you very often don't guess the author's attitude to what's happening on screen. That is, he tells you a story, but doesn't say what he thinks about it, because it's not for him to decide, it's for you to decide. You're watching a story. And Scarcesa very clearly said what he thinks about what's happening. This Not bad.

[01:09:41]Oh, it's just a way of expressing things.

[01:09:45]But at the same time, Scorsese's film very well depicts the persecution of Christians of that particular period. That is, what happened in Scorsese's film is shown even softly; it was much worse. And if you're interested in the history of hidden Christians in Japan, then Scorsese's silence is more convenient to watch than the Japanese silence, which, in my opinion, hasn't even been translated into Russian.

[01:10:05]I highly recommend this to you.

[01:10:10]Oh, so, Tarantino, Tarkovsky. Why did n't I think of Tarkovsky? Exactly.

[01:10:16]Thank you very much, Maria, for mentioning Torkovsky. Tarantino. Well, he really doesn't give a moral assessment of the actions of the characters he tells about. Ah, but he quite clearly shows, despite the fragmentary nature of what he does, the fragmentary nature of the story, this line that beats around the character, it is shown quite well. That's why I probably would n't squeeze Tarantino in there. But Torkovsky, yes, of course, especially Rublev. Here's Rublev Exactly. Well, first of all, let's put it this way. Tarkovsky was friends with Kurosawa, and they have joint photographs. They worked together at Musfilm, when Rosava wasn't financed by Japan. She was financed, he was financed by the Soviet Union. That's why he rented Bersow Hall in the Soviet Union. That's where he actually met Torkovsky, and they remained friends until Tarkovsky's death.

[01:11:12]Moreover, Kurosawa was the first person to learn that Tarkovsky had passed away.

[01:11:16]That's why, of course, Rublev, Torkovsky's Rublev, it's just that. But when you watch Torkovsky's Rublev, despite a lot of emptiness, the slow narrative, the fact that he doesn't clearly express, uh, his thoughts, yes, what he thinks about the characters, you still follow the journey of Rublev's hero. That is, this standard construction, it still remains. That's why, in general, I couldn't, probably, to say about him, but Tarkovsky is close.

[01:11:55]Yes, I know that many people love Perfect Days, but Perfect Days is such a, you know, glossy version of everything I was talking about. I don't really like this film. Not because it's bad, it's good. It's really good. Uh, I don't like it for some kind of, you know, glossy approach to the idea that I was just talking about. It's good, it follows this pattern - well, exactly to the letter. It was filmed very conveniently for the European viewer.

[01:12:30]Yes, yes, let's do it this way. And he, I'm not saying that he's bad. He's good. He's downright good.

[01:12:35]He's really good. This is my personal attitude towards him, which, in general, shouldn't affect other viewers. Objectively, it's a good one.

[01:12:48]Oh, I already answered about the questions, about the symbols.

[01:12:53]I'll name a couple of names that always remind me of Japanese cinema. Jarmusch.

[01:13:00]Jarmuschns.

[01:13:04]Yes, Ndersgrasen.

[01:13:07]And he studied with a Japanese, but I didn't... that's why I couldn't name, basically, all of these characters, because despite everything magnificent, that's because the same Jarmusch - it's rather a lot of social criticism there. He uses emptiness not as a dialogue, but as an accent for what he wants to say. That is, despite the fact that Jarmusch very actively uses, for example, what I talked about, he uses it for a completely different purpose, a very Western purpose.

[01:13:41]Again, this is not bad.

[01:13:43]It's just a different way of narrative. All these people are absolutely brilliant. I can't say anything here. Here. Mm, but ah again, you gave me an idea, I'll probably try to tell you about it, uh, in the blog at some point. Mm. Mm, yes, in Italian and Japanese cinema. Elina asked if there is an intersection between Italian and Japanese cinema. Yes, the New Wave. It united them, intertwined them and carried them in the same direction. The Japanese New Wave, the Italian New Wave, they are very similar to each other. And Well, if you watch Woman in the Sands, you'll see that. Mm.

[01:14:26]Exactly. Yes, Sarantina, yes.

[01:14:31]You tell me, actually, you tell me, I'll probably make a podcast series about this, because when it's very difficult to tell in text, it's very difficult to tell in text itself - about the mutual influence of Japanese and Western cinema, because we talked about Japanese cinema, of course, it had a great influence on the West. Today we're only talking about Kurosawa. Well, listen, I always write about who got ideas from whom. Well, an idea is such a thing, it revolves, yes, that is, it appears from something, gets an impulse, goes further, makes a circle, comes back, begins to influence something else. I always really want to show this, and, in what I write on the blog. I always really want to talk about the fact that nothing comes from nowhere, nothing goes anywhere, and everything always interacts. I hope, in general, that I succeed in this to some extent. Ah, but here's the thing So, yes.

[01:15:32]Basically, a big thank you to everyone who came today. I'm very glad. If the Pole has no more questions, then... Yes, does anyone, yes, does anyone have a question? No, who doesn't have any questions anymore, yes. And I'm very glad.

[01:15:44]I'll definitely figure out what options we have for the month of June. And somewhere, if anyone gets together at the end of June, we'll definitely do a monthly lecture too. I'll think about what to do, and tomorrow, if anyone is really looking forward to my friends' articles on Fridays, I've already written it, but haven't posted it yet because it turned out to be really long.

[01:16:07]About how marriage and weddings worked in Japan, because a lot of questions suddenly arose after the last post. There you go. And spoiler, it's not always as you think, and everything was always exactly as it is. That's it.

[01:16:22]Ah, I was very glad that those who came today came. I'm very, especially glad to the regular listeners.

[01:16:29]Thank you very much. And we'll see you next time. Definitely next month. The lecture will be recorded. I'll upload it to YouTube literally today or tomorrow. See you there.