'One Missed Call': When an Onryō Goes Digital
In a world where we hear ringers and beepers at every corner, technology feels inescapable. This is why technology is often an enemy in Digital J-horrors, like One Missed Call.
Light, Noise, Smoke, and Light, Noise, Smoke
"Fireworks were shot at a summer festival in Japan with a Super 16 format camera in order to obtain images on the optical soundtrack area on the filmstrip. The position of the photocell to read the visual information on the optical soundtrack area in a 16mm film projector is 26 frames in advance of the position of the gate to project the image. Each footage from 2 rolls of 16mm film were cut into shots of 26 frames each, and the shots were alternated from one roll to another, which would further separate the sound and visual, while producing a distinct rhythm throughout the film." (Tomonari Nishikawa)
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"Fireworks were shot at a summer festival in Japan with a Super 16 format camera in order to obtain images on the optical soundtrack area on the filmstrip. The position of the photocell to read the visual information on the optical soundtrack area in a 16mm film projector is 26 frames in advance of the position of the gate to project the image. Each footage from 2 rolls of 16mm film were cut into shots of 26 frames each, and the shots were alternated from one roll to another, which would further separate the sound and visual, while producing a distinct rhythm throughout the film." (Tomonari Nishikawa)
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