Паприка / Papurika

 

 
Ну это аниме возникло не само по себе в отрыве от всего. Сатоси Кон шёл к "Паприке" через все свои прошлые работы.
Актриса тысячелетия, Истинная грусть (1998), Агент Паранойи (сериал, 2004). Агент Паранойи был бэтоверсией Паприки, которой не хватало рисовки и сжатости повествования. 
 
Если вы спросите о чем это аниме, то я отвечу, это аниме про то, что Сатоси Кон  что-то смекает в плане социальной психологии, медиа символизма и умеет общаться визуальными образами. Главное ему есть что сказать.
 
Что общего в аниме Паприка (2006) и Bioshock 2? Есть общий символ в виде синих бабочек.
1)Paprika Trailer HD 
2)Bioshock 2 Teaser Trailer HD 
В конце на логотипе трейлера игры появляется бабочка и дальше в сюжете этот символ постоянно обыгрывается. 
Пример1, пример2, пример3 и т.д очень много 
 
 

Агент паранойи / Paranoia Agent - Парень с Битой (символ бабочки) 
Проект «МК-УЛЬТРА». --> Видео 



Monarch mind control is named after the Monarch butterfly
an insect who begins its life as a worm (representing undeveloped potential) and, after a period of cocooning (programming) is reborn as a beautiful butterflies (the Monarch slave). Some characteristics specific to the Monarch butterfly are also applicable to mind control. 

“One of the primary reasons that the Monarch mind-control programming was named Monarch programming was because of the Monarch butterfly. The Monarch butterfly learns where it was born (its roots) and it passes this knowledge via genetics on to its offspring (from generation to generation). This was one of the key animals that tipped scientists off, that knowledge can be passed genetically. The Monarch program is based upon Illuminati and Nazi goals to create a Master race in part through genetics. If knowledge can be passed genetically (which it is), then it is important that parents be found that can pass the correct knowledge onto those victims selected for the Monarch mind control.” 
https://hollywoodsub...roject-monarch/ 
 
  
"Бабочка", это состояние полной потери контроля над собой. 
"Бабочка, символизирует человека, потерявшего свое "я" 

 
  

Сюзанна Абдулла - Крошки в одеяле

The Neon Demon 

 
☿ 'You Cant Save Me' Directed by Steven Lyon 
♆ Insomnia paya pd 

 
Speed Grapher AMV 
Фотокорреспондент Сайга Тацуми, прославившийся своими фотографиями в ходе «Пузырьковой войны» 
глобализовавшей мировую экономику и увеличившей пропасть между бедными и богатыми, ведёт поиски 
некоего таинственного Клуба, где финансовая и политическая элита Японии предаётся разнообразным порокам, 
удовлетворяя свои самые низменные желания. 
 
  
 
   
STANLEY KUBRICK TOLD US THE TRUTH 
 


 

Что общего между бабочкой монарх и тотальным 
контролем сознания? MK-Ultra Monarch. Сделано в США 
 читать далее (ссылка) 


Though this explains the merging of dreams in Paprika, it doesn’t fully explore the theme of technology. In both Paprika and Perfect Blue, television plays a role as a perception changing technology. In Perfect Blue the main character is an actress who finds herself confusing her TV personality with her real life. In Paprika, characters literally escape by diving into a TV and out the camera lens. These symbols are complementary. Satoshi Kon, in an interview with The New York Times, was quoted as saying that “In Japan not just children but adults in their 20s and 30s will chose anime and manga as a means of escape from their real lives.” This is symbolized by the escape through the television. Kon then went on to caution against letting our real lives deteriorate as a result of too much technology. The interview was for the release of Paprika, but we see that this message was embedded in both Paprika and Perfect Blue. It isn’t a warning against use, but against misuse. Technology, anime, and manga all have their place in the world, but can create detrimental effects if misused.
Paprika is most obviously a movie about dreams and psychoanalysis, but it is also a movie about movies and about film theory. One of Satoshi Kon and co-writer Seishi Minakami's ingenious adaptive changes when bringing Yasutaka Tsutsui's novel to the screen came in the switch from the originals focus on Jungian psychology to the film's focus on Lacanian psychoanalysis and therefore on Lacanian film theory. From pop culture rock stars like Slavoj Zizek to lesser known scholars like Lee Edelman and Todd McGowan, Lacan has become the basis for much of the development of film theory over the past 40 years, and Paprika explicitly brings a variety of these ideas into the movie theater itself.

Though this explains the merging of dreams in Paprika, it doesn’t fully explore the theme of technology. In both Paprika and Perfect Blue, television plays a role as a perception changing technology. In Perfect Blue the main character is an actress who finds herself confusing her TV personality with her real life. In Paprika, characters literally escape by diving into a TV and out the camera lens. These symbols are complementary. Satoshi Kon, in an interview with The New York Times, was quoted as saying that “In Japan not just children but adults in their 20s and 30s will chose anime and manga as a means of escape from their real lives.” This is symbolized by the escape through the television. Kon then went on to caution against letting our real lives deteriorate as a result of too much technology. The interview was for the release of Paprika, but we see that this message was embedded in both Paprika and Perfect Blue. It isn’t a warning against use, but against misuse. Technology, anime, and manga all have their place in the world, but can create detrimental effects if misused.
Paprika is most obviously a movie about dreams and psychoanalysis, but it is also a movie about movies and about film theory. One of Satoshi Kon and co-writer Seishi Minakami's ingenious adaptive changes when bringing Yasutaka Tsutsui's novel to the screen came in the switch from the originals focus on Jungian psychology to the film's focus on Lacanian psychoanalysis and therefore on Lacanian film theory. From pop culture rock stars like Slavoj Zizek to lesser known scholars like Lee Edelman and Todd McGowan, Lacan has become the basis for much of the development of film theory over the past 40 years, and Paprika explicitly brings a variety of these ideas into the movie theater itself.
 

 

L'AMORE ETERNIT FEAT NOEMI