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)
Just a perfect day
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
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 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
Song by Lou Leed
Wittgenstein and Autobiographical Consciousness, Its Articulation: The Condition of our Bodies and Minds towards Martin Heidegger's “Zeit und Sein“
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.
