Animation as a medium for Lacanian masterpieces

I often find myself romanticizing heroes in cinematography (see: Fear and Loathing in Las Vegas). This time around, the flavor of the month is none other than Satoshi Kon, the directors’ mastermind behind films like “Paprika” and “Perfect Blue.”

I stumbled upon Kun’s job by chance, seeing “Perfect Blue” on my friend’s recommendation, and then attending a theater performance of “Paprika” a week or two later.

When I came to the Michigan theater that night, I really had no idea what I was going through—all of my years immersed in psychological thrills did nothing to prepare me for the bouncing games march or repeat the ongoing story, which flutters over the same plots as the movie tries to make sense of its existence. Most of all, I wasn’t prepared for the totally slapping, stunned soundtrack.

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