{"id":16685,"date":"2015-04-25T01:35:56","date_gmt":"2015-04-25T00:35:56","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=16685"},"modified":"2015-04-25T01:35:56","modified_gmt":"2015-04-25T00:35:56","slug":"phantom-a-film-by-toshio-matsumoto","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/04\/25\/phantom-a-film-by-toshio-matsumoto\/","title":{"rendered":"Phantom, a film by Toshio Matsumoto"},"content":{"rendered":"<p><a href=\"https:\/\/www.youtube.com\/watch?v=I0j-8eFu42Q\" target=\"_blank\"><img decoding=\"async\" alt=\"phantom.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/04\/phantom.jpg\" \/><\/a><\/p>\n<p>Yet another short film by Matsumoto, <em>Phantom<\/em> (1975) differs from the previous examples by being less abstract but thoroughly inexplicable. Disconnected sequences\u2014a naked woman on a beach; a man performing yoga asanas outdoors; an eyeball floating over a city; two people walking round a flickering statue\u2014are intercut with close-ups of a woman&#8217;s face. As with <em>Atman<\/em>, most of the footage looks like it was shot on infra-red film. Once again, a Japanese composer provides the score that hold the piece together, this one being the work of Jo Kondo. Watch it <a href=\"https:\/\/www.youtube.com\/watch?v=I0j-8eFu42Q\" target=\"_blank\">here<\/a>.<\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/04\/18\/white-hole-a-film-by-toshio-matsumoto\/\">White Hole, a film by Toshio Matsumoto<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/04\/04\/atman-a-film-by-toshio-matsumoto\/\" target=\"_blank\">Atman, a film by Toshio Matsumoto<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/04\/03\/metastasis-a-film-by-toshio-matsumoto\/\">Metastasis, a film by Toshio Matsumoto<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Yet another short film by Matsumoto, Phantom (1975) differs from the previous examples by being less abstract but thoroughly inexplicable. Disconnected sequences\u2014a naked woman on a beach; a man performing yoga asanas outdoors; an eyeball floating over a city; two people walking round a flickering statue\u2014are intercut with close-ups of a woman&#8217;s face. As with &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/04\/25\/phantom-a-film-by-toshio-matsumoto\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Phantom, a film by Toshio Matsumoto&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[7,18],"tags":[7226,7156],"class_list":["post-16685","post","type-post","status-publish","format-standard","hentry","category-film","category-surrealism","tag-jo-kondo","tag-toshio-matsumoto"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4l7","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16685","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=16685"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16685\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=16685"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=16685"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=16685"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}