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Seichō Matsumoto (松本 清張, Matsumoto Seichō, December 21, 1909 – August 4, 1992; born Kiyoharu Matsumoto) was a Japanese writer, credited with popularizing detective fiction in Japan. Matsumoto's works broke new ground by incorporating elements of human psychology and ordinary life.
Matsumoto not only wrote the script and directed the film, he also stars as the man trapped in the white room. Being that large parts of the narrative are based on non-verbal communication and set in a singular space, Symbol is comparable to films like Aragami (Ryuhei Kitamura) and the Cube film series.
The film depicts a figure sitting in an outdoor environment and wearing a robe and a Hannya mask. [3] [4] The film features receding and shifting images captured in a frame-by-frame manner; though these shots resemble zooms and pans, they were actually derived from positioning the camera on a series of a points.
The line started as an in-joke behind the camera that Scheider tried to include it at multiple points throughout filming. Eventually, it made the cut during this scene.
Matsumoto's short story was repeatedly adapted for television in later years. [6] Some of these adaptations stayed closer to the original story, which has only one detective, Yuki, observe Sadako, [ 7 ] while others took over Hashimoto's idea to present two detectives.
Installation for a spherical screen and a torus rear screen. 1990 Legend of Urando: ウランド伝説 Urando Densetsu: Media theatre for 2 HDTV and a laser. 1992 Trap of Narratology: ナラトロジーの罠 Narratology no wana: Installation for 23 screens, rotating camera platform, a camera and a sand screen.
Hitoshi Matsumoto: Screenplay by: Hitoshi Matsumoto Mitsuyoshi Takasu Tomoji Hasegawa Kôji Ema Mitsuru Kuramoto: Produced by: Keisuke Konishi Natsue Takemoto: Starring: Nao Ōmori Shinobu Terajima Hitoshi Matsumoto Ai Tominaga Eriko Sato: Cinematography: Kazunari Tanaka: Edited by: Yoshitaka Honda: Music by: Shûichi Sakamoto Shûichirô Toki
Guy Lodge of Variety wrote that while the film is "fully in touch with its very real emotions", it "feels just a little more than it says." [2]Edmund Lee of the South China Morning Post rated the film 2.5 stars out of 5 and wrote that "for all its finer accomplishments, Yukisada’s effort has probably stepped too far out of the line of ethics to find an agreeable audience."