Very cool, Chen. We definitely have to check out more of Purves’s work; his Achilles looks fantastic. It’s interesting to see this after having watched Basil Twist’s Dogugaeshi. I’m most intrigued by that spinning platform thing, which appears in both this film and Dogugaeshi. It must be a traditional element? I’m surprised by this, since it seemed so modern in Dogugaeshi and, I thought, served to turn the live musician sitting on it into a puppet. (At least for me—she was just such a small woman and the platform was spinning so fast!)
I love this little movie. I can watch it over and over. The spinning thing definitely serves a logistical purpose (set change) in purves' movie, less so in the dogugaeshi. I also love the scene where everything looks normal and then the whole room turns red, and there is paper blood pouring from "romeo." And the ending, when everything just breaks open and the camera moves as if the little people are real.
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Very cool, Chen. We definitely have to check out more of Purves’s work; his Achilles looks fantastic. It’s interesting to see this after having watched Basil Twist’s Dogugaeshi. I’m most intrigued by that spinning platform thing, which appears in both this film and Dogugaeshi. It must be a traditional element? I’m surprised by this, since it seemed so modern in Dogugaeshi and, I thought, served to turn the live musician sitting on it into a puppet. (At least for me—she was just such a small woman and the platform was spinning so fast!)
I love this little movie. I can watch it over and over. The spinning thing definitely serves a logistical purpose (set change) in purves' movie, less so in the dogugaeshi. I also love the scene where everything looks normal and then the whole room turns red, and there is paper blood pouring from "romeo." And the ending, when everything just breaks open and the camera moves as if the little people are real.
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