japan workshop

Mkay. So I’m just going to rant a little here.

Cultural appropriation. It’s a thing. And it SUCKS. I’m white right? Granted I’m half Cherokee, but I’m white. I’m American. Just clarifying all of this.

Just because I’m a white American girl does NOT mean that I can’t write creative writing pieces, scripts, poetry, and fanfics that are through the eyes of someone from a different gender, background, and culture. 

What it DOES mean is that if I choose to write a story from, say, a Jamaican pov, that I better DAMN WELL truly care about the culture and I better DAMN WELL do the research and not fall into cliches and shit like that. 

For my screenplay workshop final piece I’ve chosen to write from a Japanese characters pov in, guess what, JAPAN. But I have a deep knowledge, passion, and respect for the culture. So I did my research. My film genre I was given was horror. I worked hard to keep away from Japanese folklore or ghosts because I didn’t want to fall into cliches or traps. There are tons of things I need to improve in the editing process- but I think I did a pretty damn good job. 

Wanna know some of the things my first critique said to me?

- “Do you watch anime? I suggest watching some of that to see more of what their culture is like.”

- “Japan doesn’t really have serial killers. Why not watch the Ring or the Grudge for inspiration?”

- “More inspiration: watch some more anime (as mentioned above), like Naruto or whatever”

- (my title is Shinjuu) “I looked up the title. It means two lovers who can’t be together so they kill themselves. I don’t see that in here at all.”

……………………..

……………………..

……………………..

FUCKING. HELL.

Anime does NOT represent all of Japanese culture. Some FEATURES and some ASPECTS of Japanese culture is present in anime.

Japan DOES have serial killers. They aren’t as widely prevalent because of weapons laws, but they ARE there. Watch the news.

Watch. The. Ring. Watch. The. Grudge. I’m not writing a fucking ghost story. It is a horror movie that simply takes place in Japan. 

“Naruto or whatever” You clearly don’t know anything about anime if you’re suggesting I watch NARUTO for inspiration here. It has NOTHING to do with horror or serial killers. Oh, and “whatever?” Could you fucking care less? 

Sweetie, Shinjuu has multiple fucking meanings. How about you do more than look at the first result on Google, mkay? 


I cannot STAND when people disrespect a culture. I get it, there are a lot of things that I DON’T know about the Japanese culture. But this is a short film script. We aren’t actually filming. We aren’t putting details into the setting or the culture. I’m not writing about what I don’t know. I’m writing about what I DO know and what I have RESEARCHED because I want to get the facts RIGHT. This person clearly just reviewed my script based off of stereotypes and that’s not cool. AT. ALL. 

If it was “Oh, hey, I noticed that the school uniforms were this color, when I think Omori has these uniforms” then I would have been FINE. I would have WELCOMED it. But it wasn’t. 99% of the “advice” she gave me was nothing but stereotyping shit. Not. Fucking. Okay.

You aren’t helping my writing. You aren’t furthering my knowledge of writing scripts. You aren’t interested in the script at all. Get. Out.

From the darkest parts of a Chalice Dungeon to the Hunter’s Work Shop (at its Prime) Maria gets a little bored and reaches out to her instructor.

Very quick Gehrmaria doodle I did while working in between projects. This comic was inspired by another comic I came across, and I couldn’t resist.

Enjoy how Gehrman invented Quickening!!

4

Junya Ishigami is known for his enchanting concepts which attempt to dissolve the boundaries between architecture and geography, the delicacy and lightness of form in his work stretching far beyond the minimalist aesthetic.

The Kait workshop in Japan is a physical embodiment of such ideas; a barely-there glass box supported by 305 unique steel columns to create a fresh interior space drenched in natural light. The interior is an artificial forest of white columns, with sunlight filtering through skylights which run the entire length of the building. 

Ishigami’s obsession with celebrating the beauty of nature within artificial form is expressed in the exterior, where the glass reflects the site’s surrounding trees and the lack of exterior walls furthers the building’s transparency. This subtlety and tentativeness is present in all of Ishigami’s work. 

Photos taken by Iwan Baan and Rudolph Escher.

7

Cierto profesor nos contaba que en toda obra que iniciaba dejaba su firma: que siempre pudiera cruzarse el predio con la vista, a pesar de lo que él construyera encima. Esta casa, en su esbeltez y preciosa materialidad interior, además tiene esa característica, que de alguna manera muestra esa humildad y respeto frente a un terreno permitiendo ver hasta su fondo. El espacio, alto y continuo, se muestra abierto, con su materialidad cálida a la vista.

OFEA  - multi-leveled family home with pottery workshop, japan

instagram

Larry you better get it BoiBoi.. #lestwins workshop on Japan #LesTwinsClique #TwinsFamily #LarryBourgeois #CaBlaze #japan #workshop @lestwinson @officiallestwins #iRepost @elea7or with @irepostapp: “good night😴🎀 lestwins workshop in tokyo july 29 2015
Larry😻✨”

Made with Instagram

Opening today, A Japanese Constellation: Toyo Ito, SANAA, and Beyond, explores the work of a network of architecture luminaries. 


[Junya Ishigami. Kanagawa Institute of Technology Workshop, Kanagawa, Japan. 2005–08. © Junya.Ishigami + Associates]