标题：The Beauty of Surrealism in Paprika
描述：This is my video essay on Paprika, please enjoy and be sure to watch the film for yourself before the video so as to not hinder your viewing.
What was the depth in paprika (the characters story)? For me it was just she wasn’t being true to herself, and being strict with everything in life, while her other self paprika had more spice in her life. Later on she accepts everything like her love for the guy and basically becomes whole like a fusion with paprika. I didn’t think much of the murder mystery either I mean I just saw it as a self reflection of the guys past and his regrets of not finishing that movie. To me it wasn’t like he was trying to solve a murder mystery rather he was trying to solve his past trauma
Paprika’s dreamlike setup made me tear up from the pure beauty of the intro alone. It’s such a weird movie that ultimately goes nowhere in the end but it still (or because of that) is such a magical, pleasant experience.
I only ever watched this movie because Susumu Hirasawa was credited with the soundtrack and I immediately fell in love with it. After I then found out that the director had died a few years back, I was absolutely devastated. It’s a genuine shame to see the work of someone so hopeful and positive and then find out that you can’t ever thank that person for brightening your life.
But I still want to thank him dearly. So here’s to Satoshi Kon, a man who loved deeply!
Hmm not quite. I wouldn’t describe Paprika as a fundamentally ‘Surrealist’ work. It certainly contains surrealist imagery, but there is a coherent narrative throughout that is completely at odds with the nonsensical focus of surrealist art, which often arises out of an ‘automatic’ conceptual approach that seeks to ‘unmask’ the artist’s unconscious. Secondly, the ‘Real’ world and the ‘unreal’ dream world are clearly demarcated in the film, to the extent that they are able to begin to ‘merge’ (hence suggesting their prior separation) towards the end of the film. In fact, the film ends with Paprika rescuing the Real from the Chairman’s expanding dreamworld. Thus the film ends in a state that denies the aesthetic framework of surrealism a space in which it might appear.
I think you’ve missed the mark here. Might I suggest that a better approach to understanding this film would be to look at it through the lens of Baudrillard’s concept of hyperreality? Then the film becomes very fascinating indeed.