WEBVTT

1
00:00:04.547 --> 00:00:10.527
Animation Basics
Animation analysis - Analyzing Animated Works

2
00:00:10.527 --> 00:00:12.962
GCC Academy

3
00:00:23.819 --> 00:00:27.640
Analysis of the Evangelion Work and Characters

4
00:00:27.911 --> 00:00:31.000
Nice to meet you, my name is Choi Byeongseon

5
00:00:31.000 --> 00:00:33.250
Today, the first lecture of Animation Analysis course

6
00:00:33.250 --> 00:00:36.640
will be covering Evangelion

7
00:00:36.640 --> 00:00:40.440
First, Evangelion is a work that made a significant mark

8
00:00:40.440 --> 00:00:43.080
in the history of animation

9
00:00:43.080 --> 00:00:44.727
 It stands out from previous animation works

10
00:00:44.727 --> 00:00:48.920
with its unique setting, imagery, and direction

11
00:00:48.920 --> 00:00:51.672
For those who create, study

12
00:00:51.672 --> 00:00:55.680
or love animation

13
00:00:55.680 --> 00:00:57.391
often referred to as otaku

14
00:00:57.391 --> 00:00:59.841
for me as well, through this work

15
00:00:59.841 --> 00:01:02.840
my passion for anime started to grow

16
00:01:02.840 --> 00:01:06.400
The story is about the anxiety and growth of youth

17
00:01:06.400 --> 00:01:10.279
and it features a giant robot, Evangelion, in a battle

18
00:01:10.279 --> 00:01:14.179
that is not a typical good vs. evil struggle

19
00:01:14.179 --> 00:01:17.080
but rather a fight between giant robots

20
00:01:17.080 --> 00:01:21.730
Through this battle, the protagonist grows

21
00:01:21.730 --> 00:01:24.279
and that's the essence of the story

22
00:01:24.279 --> 00:01:26.679
The reason I chose this work is

23
00:01:26.679 --> 00:01:29.520
that it’s from the late 90s

24
00:01:29.520 --> 00:01:31.480
and it's a work that has been around for a while

25
00:01:31.480 --> 00:01:34.580
I believe many of you, whether through YouTube

26
00:01:34.580 --> 00:01:38.680
or by having an interest in animation

27
00:01:38.680 --> 00:01:41.430
have likely encountered

28
00:01:41.430 --> 00:01:43.639
this work in some way

29
00:01:43.639 --> 00:01:45.885
So, in the process of planning

30
00:01:45.885 --> 00:01:48.199
and analyzing animation

31
00:01:48.199 --> 00:01:51.899
there are many aspects worth learning from this work

32
00:01:51.899 --> 00:01:54.842
which is why I chose this work for this course

33
00:01:54.842 --> 00:01:59.559
Let's look at the historical context of its production

34
00:01:59.559 --> 00:02:03.160
Evangelion first aired in 1995

35
00:02:03.160 --> 00:02:06.560
and the brief historical background 
of Japanese society at the time was

36
00:02:06.560 --> 00:02:08.599
It was the time when the bubble economy was collapsing

37
00:02:08.599 --> 00:02:10.749
The social unrest caused

38
00:02:10.749 --> 00:02:13.400
by that was creating a stagnant atmosphere in society

39
00:02:13.400 --> 00:02:17.639
conveyed through newspapers and various media

40
00:02:17.639 --> 00:02:21.039
Moreover, around that time

41
00:02:21.039 --> 00:02:23.239
there was the Aum Shinrikyo subway gas attack

42
00:02:23.239 --> 00:02:26.739
Overall, it was a time filled with a very depressing

43
00:02:26.739 --> 00:02:30.760
and stagnant atmosphere in society

44
00:02:30.760 --> 00:02:34.260
It was an animated work targeted

45
00:02:34.260 --> 00:02:38.354
at young people in such a time

46
00:02:38.354 --> 00:02:43.904
Culturally, it can be seen as a work that helped

47
00:02:43.904 --> 00:02:48.119
shape the concept of otaku culture in a more concrete way

48
00:02:48.119 --> 00:02:52.759
So, if we look at the features of the work, 
it involves giant robots

49
00:02:52.759 --> 00:02:56.159
and there are common humans

50
00:02:56.159 --> 00:03:01.488
including the protagonist, 
along with ordinary citizens, students

51
00:03:01.488 --> 00:03:05.320
and a being called Sado attacking their town

52
00:03:05.320 --> 00:03:09.170
The basic story line is about 
the battles between these giant robots

53
00:03:09.170 --> 00:03:11.960
fighting against Sado

54
00:03:11.960 --> 00:03:15.010
In traditional mecha works

55
00:03:15.010 --> 00:03:16.760
there is usually a heroic protagonist

56
00:03:16.760 --> 00:03:19.169
a clear distinction between good and evil

57
00:03:19.169 --> 00:03:21.320
and a focus on a very optimistic future

58
00:03:21.320 --> 00:03:25.470
If traditional works focused on simple good vs. evil battles

59
00:03:25.470 --> 00:03:29.880
where eliminating the villain would lead to peace

60
00:03:29.880 --> 00:03:33.558
EVA, as a work, introduces a very depressed protagonist

61
00:03:33.558 --> 00:03:36.451
The character is one who carries the many struggles

62
00:03:36.451 --> 00:03:39.320
that comes from adolescence that we can easily relate to

63
00:03:39.320 --> 00:03:44.549
This character struggles within 
a very ambiguous good vs. evil framework

64
00:03:44.549 --> 00:03:47.049
and within an apocalyptic worldview

65
00:03:47.049 --> 00:03:51.320
he goes through various psychological conflicts and growth

66
00:03:51.320 --> 00:03:53.720
There were innovative aspects

67
00:03:53.720 --> 00:03:57.038
and one of them was genre subversion

68
00:03:57.038 --> 00:04:00.038
While mecha animation, as mentioned earlier

69
00:04:00.038 --> 00:04:03.366
typically had a simplified good vs. evil structure

70
00:04:03.366 --> 00:04:07.160
this work focuses more on a psychological narrative

71
00:04:07.160 --> 00:04:10.810
Before even exchanging simple actions

72
00:04:10.810 --> 00:04:12.544
on the protagonist's psychological conflicts

73
00:04:12.544 --> 00:04:16.199
a lot of time and direction is spent

74
00:04:16.199 --> 00:04:18.199
It was the work that first tried

75
00:04:18.199 --> 00:04:20.279
such experimental directing techniques

76
00:04:20.279 --> 00:04:22.475
and in the later part of the work

77
00:04:22.475 --> 00:04:24.879
it employs bold directing methods and imagery

78
00:04:24.879 --> 00:04:29.240
that makes it hard even to consider it an action based work

79
00:04:29.240 --> 00:04:32.790
As a result, the robot designs have a visually distinct form

80
00:04:32.790 --> 00:04:34.839
from what we typically expect

81
00:04:34.839 --> 00:04:36.539
And in terms of direction

82
00:04:36.539 --> 00:04:38.520
there are many very static scenes

83
00:04:38.520 --> 00:04:42.120
The tension created by these static scenes

84
00:04:42.120 --> 00:04:45.720
was a cinematic direction that

85
00:04:45.720 --> 00:04:49.337
greatly differentiated the work

86
00:04:49.337 --> 00:04:51.959
from the typical format of giant robot action animation

87
00:04:51.959 --> 00:04:54.709
I think these static scenes and the tension

88
00:04:54.709 --> 00:04:58.859
were elements that allowed

89
00:04:58.859 --> 00:05:02.600
a very deep portrayal of psychological expression

90
00:05:02.600 --> 00:05:05.450
Another thing that

91
00:05:05.450 --> 00:05:08.150
I was impressed by

92
00:05:08.150 --> 00:05:12.700
watching this Evangelion

93
00:05:12.700 --> 00:05:15.559
was, I was a college student

94
00:05:15.559 --> 00:05:19.079
and It wasn't long after high school

95
00:05:19.079 --> 00:05:21.961
for a protagonist controlling a giant robot

96
00:05:21.961 --> 00:05:25.399
he has a very ordinary appearance

97
00:05:25.399 --> 00:05:27.299
Rather than having any sense of resolve

98
00:05:27.299 --> 00:05:30.119
he is deeply engulfed in a feeling of sadness

99
00:05:30.119 --> 00:05:33.569
the psychological struggles 
we commonly experience in high school

100
00:05:33.569 --> 00:05:36.069
For example, in Korea

101
00:05:36.069 --> 00:05:37.880
University entrance exams

102
00:05:37.880 --> 00:05:40.730
burden of needing to gain recognition

103
00:05:40.730 --> 00:05:44.760
from the school or parents

104
00:05:44.760 --> 00:05:47.510
I think many people have probably

105
00:05:47.510 --> 00:05:50.119
had a desire to escape from such pressures

106
00:05:50.119 --> 00:05:54.719
The struggles with relationships with parents, 
concerns about self identity

107
00:05:54.719 --> 00:05:57.069
and the issues of forming relationships

108
00:05:57.069 --> 00:05:59.799
 with friends or others

109
00:05:59.799 --> 00:06:03.079
These are portrayed in a very realistic way, of being a teenager

110
00:06:03.079 --> 00:06:06.760
The protagonist, as an imperfect hero, 
repeatedly makes mistakes and regrets them

111
00:06:06.760 --> 00:06:09.310
and the depiction of growing pains is

112
00:06:09.310 --> 00:06:11.860
what I found to be very unique

113
00:06:11.860 --> 00:06:15.799
and meaningful in the work

114
00:06:15.799 --> 00:06:19.399
Let's look at the story through the protagonist Shinji

115
00:06:19.399 --> 00:06:23.320
to see the stories that we can relate to

116
00:06:23.320 --> 00:06:29.038
First, when we think of the character Shinji

117
00:06:29.038 --> 00:06:33.427
the scene that comes to mind is

118
00:06:33.427 --> 00:06:35.499
his desire to escape from the realistic pressures

119
00:06:35.499 --> 00:06:38.440
and the urge to flee from them

120
00:06:38.440 --> 00:06:40.190
This kind of scene repeatedly appears

121
00:06:40.190 --> 00:06:41.880
multiple times throughout the story

122
00:06:41.880 --> 00:06:45.380
First, he hears this line, Get in the EVA!

123
00:06:45.380 --> 00:06:52.267
The protagonist hears it from Gendo, his dad

124
00:06:52.267 --> 00:06:55.346
but also the head of the organization he is part of

125
00:06:55.346 --> 00:06:59.296
In a way, this is similar to how, during high school

126
00:06:59.296 --> 00:07:03.465
we were often pressured

127
00:07:03.465 --> 00:07:06.765
to go to a good university, perform well on exams

128
00:07:06.765 --> 00:07:09.585
or conform to society's

129
00:07:09.585 --> 00:07:13.735
conventional ideals and expectations

130
00:07:13.735 --> 00:07:19.431
whether we wanted to or not, similar to us

131
00:07:19.431 --> 00:07:21.931
Shinji, is given the directive

132
00:07:21.931 --> 00:07:24.127
to pilot the EVA

133
00:07:24.127 --> 00:07:27.927
In fact, Shinji is a character who longs for

134
00:07:27.927 --> 00:07:30.734
a very ordinary life

135
00:07:30.734 --> 00:07:35.257
Despite not having spent much time

136
00:07:35.257 --> 00:07:38.957
with his father during his childhood

137
00:07:38.957 --> 00:07:41.507
he is, in a way, forced by that same person

138
00:07:41.507 --> 00:07:43.324
to pilot the EVA, a giant robot

139
00:07:43.324 --> 00:07:47.799
He is given this externally imposed sense of duty

140
00:07:47.799 --> 00:07:50.299
and in a situation where he has no choice

141
00:07:50.299 --> 00:07:53.164
he is pressured by statements like

142
00:07:53.164 --> 00:07:56.440
You are special, or No one else can do it

143
00:07:56.440 --> 00:07:59.440
which leads him to repeatedly experience

144
00:07:59.440 --> 00:08:02.273
failure mall achievements, and growth

145
00:08:02.273 --> 00:08:05.085
And when he fails, he is burdened with the heavy pressure

146
00:08:05.085 --> 00:08:08.200
that humanity will perish

147
00:08:08.200 --> 00:08:11.731
The expectations of parents, pressure regarding career paths

148
00:08:11.731 --> 00:08:13.720
the burden of entrance exams and employment

149
00:08:13.720 --> 00:08:16.600
and the weight of feeling that your future is at stake

150
00:08:16.600 --> 00:08:19.240
these are all realities we can't escape

151
00:08:19.240 --> 00:08:22.000
Yet, during such overwhelming moments

152
00:08:22.000 --> 00:08:24.280
we often feel the urge to let go

153
00:08:24.280 --> 00:08:26.320
or even give up

154
00:08:26.320 --> 00:08:30.360
I think these aspects are a major factor

155
00:08:30.360 --> 00:08:33.080
that makes it easy for us to relate to

156
00:08:33.080 --> 00:08:36.040
and empathize with this character

157
00:08:36.040 --> 00:08:39.799
This character constantly tries to escape

158
00:08:39.799 --> 00:08:41.720
from this pressure

159
00:08:41.720 --> 00:08:44.160
yet inevitably returns to it

160
00:08:44.160 --> 00:08:47.840
These elements make the situation

161
00:08:47.840 --> 00:08:51.520
much more tense in a way

162
00:08:51.520 --> 00:08:54.105
and what draws this character come back are

163
00:08:54.105 --> 00:08:59.160
the relationships with various others

164
00:08:59.160 --> 00:09:04.639
such as a sense of duty or the undeniable presence of companions

165
00:09:04.639 --> 00:09:08.160
These interactions ultimately lead to his return

166
00:09:08.160 --> 00:09:11.919
These moments reflect our own lives

167
00:09:11.919 --> 00:09:14.959
where we often face various conflicts and difficulties

168
00:09:14.959 --> 00:09:17.480
sometimes reaching the point of giving up

169
00:09:17.480 --> 00:09:19.360
but also finding moments to correct ourselves

170
00:09:19.360 --> 00:09:23.279
These moments are depicted

171
00:09:23.279 --> 00:09:25.919
very smoothly and beautifully

172
00:09:25.919 --> 00:09:27.959
As a result, this character undergoes growth

173
00:09:27.959 --> 00:09:30.839
both physically and mentally

174
00:09:30.839 --> 00:09:35.959
The relationship between the protagonist

175
00:09:35.959 --> 00:09:38.120
and the EVA, a giant robot in this animation

176
00:09:38.120 --> 00:09:40.480
is quite different from that of previous protagonists

177
00:09:40.480 --> 00:09:42.839
who control combat type robots

178
00:09:42.839 --> 00:09:45.360
The two are connected through a synchronicity

179
00:09:45.360 --> 00:09:48.720
sharing pain and various sensations

180
00:09:48.720 --> 00:09:52.519
while piloting the robot

181
00:09:52.519 --> 00:09:54.360
In this sense, the protagonist is

182
00:09:54.360 --> 00:09:57.680
quite special

183
00:09:57.680 --> 00:10:00.720
To put the detail on the robot simply

184
00:10:00.720 --> 00:10:02.239
the EVA is a robot

185
00:10:02.239 --> 00:10:05.919
that contains the genetic material of Shinji's mother

186
00:10:05.919 --> 00:10:08.440
and has a biological structure

187
00:10:08.440 --> 00:10:11.839
that includes parts of her

188
00:10:11.839 --> 00:10:13.960
Since the protagonist shares the same DNA

189
00:10:13.960 --> 00:10:15.199
The protagonist

190
00:10:15.199 --> 00:10:17.279
with a very high synchronization rate

191
00:10:17.279 --> 00:10:21.842
he can operate the robot in a way

192
00:10:21.842 --> 00:10:23.880
that he can bring the EVA's full potential

193
00:10:23.880 --> 00:10:27.294
because he possesses

194
00:10:27.294 --> 00:10:29.479
an innate ability

195
00:10:29.479 --> 00:10:31.839
As a result, the robot itself

196
00:10:31.839 --> 00:10:36.240
also reflects the protagonist's physical struggles

197
00:10:36.240 --> 00:10:40.000
overcoming challenges, and growth throughout the process

198
00:10:40.000 --> 00:10:43.240
When the protagonist pilots the robot

199
00:10:43.240 --> 00:10:45.880
he is submerged in a red liquid

200
00:10:45.880 --> 00:10:47.919
known as LCL

201
00:10:47.919 --> 00:10:52.039
As the synchronization with the robot occurs

202
00:10:52.039 --> 00:10:54.279
the protagonist also experiences the pain

203
00:10:54.279 --> 00:10:56.479
the robot feels directly

204
00:10:56.479 --> 00:11:02.871
As a result, during the robot's battles

205
00:11:02.871 --> 00:11:06.039
the damage and injuries sustained

206
00:11:06.039 --> 00:11:11.240
are directly transmitted to the protagonist

207
00:11:11.240 --> 00:11:15.880
And because the robot has biological characteristics

208
00:11:15.880 --> 00:11:18.759
its awakening or certain extreme behaviors

209
00:11:18.759 --> 00:11:20.600
can be seen as similar to

210
00:11:20.600 --> 00:11:23.919
common expressions we use

211
00:11:23.919 --> 00:11:27.839
when a person loses control or goes berserk

212
00:11:27.839 --> 00:11:32.320
These elements are reflected in the robot as well

213
00:11:32.320 --> 00:11:35.880
This process is smoothly depicted in a way that closely ties

214
00:11:35.880 --> 00:11:40.039
to the protagonist's psychological growth

215
00:11:40.039 --> 00:11:43.960
It can be said that these expressions are

216
00:11:43.960 --> 00:11:46.080
reflecting the growing pains of youth

217
00:11:46.080 --> 00:11:50.399
One of the key elements in addressing 
the protagonist's growing pains

218
00:11:50.399 --> 00:11:53.839
is the aspect of relationship formation

219
00:11:53.839 --> 00:11:56.639
The relationship with Asuka is

220
00:11:56.639 --> 00:11:59.279
a rival, as she appears as both

221
00:11:59.279 --> 00:12:02.240
a teammate and a fierce competitor

222
00:12:02.240 --> 00:12:04.960
Through this process, as they spend time

223
00:12:04.960 --> 00:12:07.000
 and experience events together

224
00:12:07.000 --> 00:12:09.320
they develop an interest in each other

225
00:12:09.320 --> 00:12:12.080
In contrast to Asuka, there is Rei

226
00:12:12.080 --> 00:12:15.000
another teammate who also fights alongside

227
00:12:15.000 --> 00:12:16.400
Rei's relationship with the protagonist

228
00:12:16.400 --> 00:12:19.039
 starts off very cold but gradually

229
00:12:19.039 --> 00:12:21.359
they begin to develop a sense of mutual connection

230
00:12:21.359 --> 00:12:23.909
Over time, Rei evolves into a figure

231
00:12:23.909 --> 00:12:26.640
that evokes a sense of maternal care

232
00:12:26.640 --> 00:12:30.480
and the relationship develops into one where

233
00:12:30.480 --> 00:12:32.600
the protagonist desires to protect her

234
00:12:32.600 --> 00:12:36.920
The various expectations and disappointments

235
00:12:36.920 --> 00:12:39.799
experienced with these characters repeat

236
00:12:39.799 --> 00:12:43.000
in the similar way

237
00:12:43.000 --> 00:12:46.119
to those we often encounter with classmates

238
00:12:46.119 --> 00:12:48.600
during our school years

239
00:12:48.600 --> 00:12:50.950
And that's what makes the setting

240
00:12:50.950 --> 00:12:52.920
very relatable and easy to empathize with

241
00:12:52.920 --> 00:12:54.559
Additionally, Evangelion features

242
00:12:54.559 --> 00:12:59.440
a variety of symbolic elements

243
00:12:59.440 --> 00:13:02.440
which is an important aspect worth looking at

244
00:13:02.440 --> 00:13:06.279
One of the common robot concepts

245
00:13:06.279 --> 00:13:08.880
in Evangelion is the At Field

246
00:13:08.880 --> 00:13:10.720
a shield, a protective barrier

247
00:13:10.720 --> 00:13:13.799
the AT Field acts as a shield 
that defends against physical attacks

248
00:13:13.799 --> 00:13:15.699
The AT Field is a crucial

249
00:13:15.699 --> 00:13:18.200
and essential ability for the EVA robot

250
00:13:18.200 --> 00:13:22.839
In a way, it represents the fundamental human trait

251
00:13:22.839 --> 00:13:27.200
the instinct to protect ourselves

252
00:13:27.200 --> 00:13:30.839
from external, unfamiliar, or negative forces

253
00:13:30.839 --> 00:13:34.959
Reflecting this aspect of human nature

254
00:13:34.959 --> 00:13:38.920
is one of the distinctive features of Evangelion

255
00:13:38.920 --> 00:13:42.920
So through this work, there are

256
00:13:42.920 --> 00:13:47.569
various depictions or mentions of

257
00:13:47.569 --> 00:13:50.279
the identity of this AT field

258
00:13:50.279 --> 00:13:55.119
Through the protagonist's monologue and the repeated battles

259
00:13:55.119 --> 00:14:00.959
the viewers also come to realize that

260
00:14:00.959 --> 00:14:04.480
 the AT field is not simply a mechanical device

261
00:14:04.480 --> 00:14:07.720
used to defend a robot

262
00:14:07.720 --> 00:14:10.024
It represents the psychological walls

263
00:14:10.024 --> 00:14:12.600
we have in our relationships with others

264
00:14:12.600 --> 00:14:14.720
and the boundaries we set to protect our sense of self

265
00:14:14.720 --> 00:14:17.170
In a way, these things

266
00:14:17.170 --> 00:14:18.720
not only protect us

267
00:14:18.720 --> 00:14:20.920
but also isolate us

268
00:14:20.920 --> 00:14:23.920
and the AT field closely resembles

269
00:14:23.920 --> 00:14:26.760
the desire to safeguard

270
00:14:26.760 --> 00:14:28.839
our psychological self

271
00:14:28.839 --> 00:14:31.160
when watching this animation, these elements

272
00:14:31.160 --> 00:14:34.839
naturally connect and evoke such associations

273
00:14:34.839 --> 00:14:38.040
I thought those are one of the remarkable aspects of this work

274
00:14:38.268 --> 00:14:42.119
The Handling of Eye Contact 
Between Characters in Evangelion

275
00:14:42.535 --> 00:14:46.485
First, I’ve explained the things

276
00:14:46.485 --> 00:14:50.814
I felt and the parts I found interesting

277
00:14:50.814 --> 00:14:52.279
about the work Evangelion

278
00:14:52.279 --> 00:14:55.239
However, this work has exceptional direction

279
00:14:55.239 --> 00:14:59.464
and very captivating depictions, and these are

280
00:14:59.464 --> 00:15:02.519
aspects that

281
00:15:02.519 --> 00:15:04.126
we consider very important, as storytellers

282
00:15:04.126 --> 00:15:07.799
and creators of visual content

283
00:15:07.799 --> 00:15:10.839
we have a lot to study and learn from

284
00:15:10.839 --> 00:15:14.439
Among these, the handling of eye contact between characters

285
00:15:14.439 --> 00:15:16.839
is something worth paying attention to

286
00:15:16.839 --> 00:15:20.589
The protagonist, Shinji

287
00:15:20.589 --> 00:15:23.480
and his father, Gendo

288
00:15:23.480 --> 00:15:27.130
I can talk about the eye contact

289
00:15:27.130 --> 00:15:29.720
between these characters

290
00:15:29.720 --> 00:15:34.120
First, the lack of eye contact is portrayed

291
00:15:34.120 --> 00:15:36.440
in a very distinctive and clear way

292
00:15:36.440 --> 00:15:39.390
And the character Gendo 
is often depicted in a intimidating manner

293
00:15:39.390 --> 00:15:42.200
always looking down from a higher angle

294
00:15:42.200 --> 00:15:46.096
Shinji is often depicted looking up from a low angle

295
00:15:46.096 --> 00:15:48.519
or showing signs of avoiding eye contact

296
00:15:48.519 --> 00:15:52.019
The father-son relationship, 
where they do not look at each other

297
00:15:52.019 --> 00:15:54.760
is depicted through this eye contact direction

298
00:15:54.760 --> 00:15:59.559
The elevator appears in a variety of ways

299
00:15:59.559 --> 00:16:05.079
The physical distance, along with the increasingly distant 
eye contact between Shinji and Gendo

300
00:16:05.079 --> 00:16:08.179
represents the psychological distance 
and the gap that cannot be bridged

301
00:16:08.179 --> 00:16:12.270
In terms of composition, 
the contrast between rising and descending

302
00:16:12.270 --> 00:16:15.070
is used as a visual representation

303
00:16:15.070 --> 00:16:18.040
of the impossibility of communication

304
00:16:18.040 --> 00:16:23.399
And at the end, they have their final confrontation

305
00:16:23.399 --> 00:16:26.849
where for the first and last time, 
they exchange a genuine gaze

306
00:16:26.849 --> 00:16:30.625
and share understanding and forgiveness

307
00:16:30.625 --> 00:16:34.200
As I mentioned earlier

308
00:16:34.200 --> 00:16:38.150
After the overcoming of the difficult relationship

309
00:16:38.150 --> 00:16:40.919
the moment they finally face each other

310
00:16:40.919 --> 00:16:45.346
makes the dramatic scene even more intense

311
00:16:45.346 --> 00:16:48.246
And to mention a few characteristic eye contact techniques

312
00:16:48.246 --> 00:16:50.679
one could point out

313
00:16:50.679 --> 00:16:54.679
the use of the direct front-facing shot

314
00:16:54.679 --> 00:16:56.979
Among these, there are monologue scenes

315
00:16:56.979 --> 00:16:59.400
and direct gazes toward the audience

316
00:16:59.400 --> 00:17:04.200
This is actually a rare technique

317
00:17:04.200 --> 00:17:07.741
often considered a taboo

318
00:17:07.741 --> 00:17:10.105
in common film or animation direction

319
00:17:10.105 --> 00:17:13.459
The direct gaze toward 
the audience and the internal monologue

320
00:17:13.459 --> 00:17:16.119
when these moments of externalization

321
00:17:16.119 --> 00:17:18.069
it breaks the frame of the narrative

322
00:17:18.069 --> 00:17:21.779
the frame of the fact that we are watching the play or film

323
00:17:21.779 --> 00:17:24.279
and the inner confession sequence

324
00:17:24.279 --> 00:17:26.760
like in 25th and 26th episodes

325
00:17:26.760 --> 00:17:29.960
It is used as a very experimental direction

326
00:17:29.960 --> 00:17:33.000
creating a psychologically therapeutic composition

327
00:17:33.000 --> 00:17:35.850
As a result, it gives the feeling of directly experiencing

328
00:17:35.850 --> 00:17:38.359
the character's inner thoughts

329
00:17:38.359 --> 00:17:42.516
And it gives the feeling 
that the distance between the audience

330
00:17:42.516 --> 00:17:45.400
and the characters disappears, as if a barrier is removed

331
00:17:45.400 --> 00:17:48.440
By changing the degree of the close-up

332
00:17:48.440 --> 00:17:50.919
adjusting the distance with the camera

333
00:17:50.919 --> 00:17:52.619
the direction effectively enhances

334
00:17:52.619 --> 00:17:56.520
our emotional immersion in the character

335
00:17:56.520 --> 00:18:00.200
These characteristic directorial techniques

336
00:18:00.200 --> 00:18:02.600
that utilize such methods

337
00:18:02.600 --> 00:18:06.359
are worth paying close attention to

338
00:18:06.359 --> 00:18:10.440
In group scenes, the eye contact composition

339
00:18:10.440 --> 00:18:13.559
such as the school setting, 
eye contact composition in the classroom

340
00:18:13.559 --> 00:18:18.599
Shinji and Rei’s characters share a gaze toward the window

341
00:18:18.599 --> 00:18:20.572
while characters like Asuka

342
00:18:20.572 --> 00:18:23.320
is portrayed with a more active gaze and involvement

343
00:18:23.320 --> 00:18:25.070
and the classmates are depicted with

344
00:18:25.070 --> 00:18:28.359
a more passive or bystander gaze

345
00:18:28.359 --> 00:18:31.659
I believe these techniques were very effective

346
00:18:31.659 --> 00:18:34.039
in visualizing alienation and isolation

347
00:18:34.039 --> 00:18:38.370
In a way, the power dynamics 
and imperfections in relationships

348
00:18:38.370 --> 00:18:42.840
in a teenage classroom are effectively depicted

349
00:18:42.840 --> 00:18:46.760
I think these eye contact techniques are well utilized

350
00:18:46.760 --> 00:18:50.919
In scenes within the NERV operations control room

351
00:18:50.919 --> 00:18:55.799
the differences in eye contact based on 
power dynamics are also very effectively utilized

352
00:18:55.799 --> 00:18:59.640
The gaze from a higher position looking down

353
00:18:59.640 --> 00:19:03.479
the mediator's gaze, and the upward gaze from the agents

354
00:19:03.479 --> 00:19:07.880
are all well maintained and depicted

355
00:19:07.880 --> 00:19:12.280
The gaze when piloting the EVA robot

356
00:19:12.280 --> 00:19:14.599
is also quite interesting

357
00:19:14.599 --> 00:19:17.559
The cockpit perspective and the subjective shot

358
00:19:17.559 --> 00:19:20.309
Many works now

359
00:19:20.309 --> 00:19:23.320
utilize similar perspective shots

360
00:19:23.320 --> 00:19:27.744
In a way, the pilot's perspective

361
00:19:27.744 --> 00:19:30.440
such as the head-up display, the limited field of view

362
00:19:30.440 --> 00:19:32.760
and the reality viewed through the machine

363
00:19:32.760 --> 00:19:36.360
create captivating scenes that are

364
00:19:36.360 --> 00:19:39.000
typical of mecha works

365
00:19:39.000 --> 00:19:41.850
I also think these elements are very effective in

366
00:19:41.850 --> 00:19:45.080
depicting the protagonist's psychological

367
00:19:45.080 --> 00:19:47.799
state of being isolated within this protective shell

368
00:19:47.799 --> 00:19:51.559
In battle scenes, the gaze of out of control

369
00:19:51.559 --> 00:19:53.959
when the EVA robot gets out of control

370
00:19:53.959 --> 00:19:56.919
it enters a berserker mode

371
00:19:56.919 --> 00:19:59.000
exhibiting wild behavior

372
00:19:59.000 --> 00:20:02.830
In these moments, the wild gaze is 
portrayed from a first-person perspective

373
00:20:02.830 --> 00:20:07.874
and the various camera work is directed in a way that

374
00:20:07.874 --> 00:20:11.920
effectively expresses this primal violence

375
00:20:11.920 --> 00:20:16.820
And when the situation is normal, 
the gaze is calculated and tactical

376
00:20:16.820 --> 00:20:21.600
with the battle scenes being directed in a rational manner

377
00:20:21.600 --> 00:20:25.850
I think these elements are effectively used to show

378
00:20:25.850 --> 00:20:29.600
the harmony between humans and machines

379
00:20:29.600 --> 00:20:32.550
From the perspective of utilizing a meta gaze

380
00:20:32.550 --> 00:20:36.320
in the latter half of the work, 
reality and unreality begin to intersect

381
00:20:36.320 --> 00:20:39.270
By inserting live-action footage

382
00:20:39.270 --> 00:20:41.270
the animation production process is exposed

383
00:20:41.270 --> 00:20:43.520
and a chaotic situation is depicted

384
00:20:43.520 --> 00:20:46.400
where multiple perspectives are intertwined

385
00:20:46.400 --> 00:20:48.700
These elements disrupt the audience's immersion

386
00:20:48.700 --> 00:20:52.799
and make them conscious of the fact 
that they are watching a medium

387
00:20:52.799 --> 00:20:56.099
I believe the breakdown of the boundary between

388
00:20:56.099 --> 00:20:59.759
reality and fiction was intentionally directed

389
00:20:59.759 --> 00:21:02.459
The work Evangelion features

390
00:21:02.459 --> 00:21:05.343
various motifs

391
00:21:05.343 --> 00:21:08.160
These elements are used 
as repetitive motifs throughout the work

392
00:21:08.160 --> 00:21:11.960
One of the most representative locations 
symbolizing everyday space is

393
00:21:11.960 --> 00:21:15.160
the place of the protagonist's home

394
00:21:15.160 --> 00:21:17.499
the apartment of the character Misato

395
00:21:17.499 --> 00:21:20.199
It is a modern, high-rise urban residence

396
00:21:20.199 --> 00:21:22.160
that is always somewhat cluttered

397
00:21:22.160 --> 00:21:26.000
There are beer cans and instant food scattered around

398
00:21:26.000 --> 00:21:29.300
I think these elements

399
00:21:29.300 --> 00:21:32.800
were intentionally depicted in a way

400
00:21:32.800 --> 00:21:34.600
that closely resembles our everyday lives

401
00:21:34.600 --> 00:21:37.760
to effectively portray the reality of it

402
00:21:37.760 --> 00:21:40.060
These elements create a space of a surrogate family

403
00:21:40.060 --> 00:21:44.639
where multiple people live together

404
00:21:44.639 --> 00:21:48.139
It serves as both a refuge and a place of conflict

405
00:21:48.139 --> 00:21:52.089
Even the arrangement of Asuka's room is

406
00:21:52.089 --> 00:21:55.539
symbolically set up to effectively create

407
00:21:55.539 --> 00:21:58.879
 a sense of psychological distance

408
00:21:58.879 --> 00:22:02.129
Elements like empty desks in the school classroom

409
00:22:02.129 --> 00:22:04.529
the few remaining students after the disaster

410
00:22:04.529 --> 00:22:09.298
and the sunset shining through the window

411
00:22:09.298 --> 00:22:11.698
effectively symbolize the formal aspects of everyday life

412
00:22:11.698 --> 00:22:13.948
generational disconnection and isolation

413
00:22:13.948 --> 00:22:16.895
These also play a role in depicting

414
00:22:16.895 --> 00:22:20.720
the triangular relationship between Shinji, Rei, and Asuka

415
00:22:20.720 --> 00:22:23.970
Also, vending machines and benches appear repeatedly

416
00:22:23.970 --> 00:22:26.320
Characters mostly have their conversations there

417
00:22:26.320 --> 00:22:28.270
The place of contemplation

418
00:22:28.270 --> 00:22:30.770
often employed in quiet

419
00:22:30.770 --> 00:22:33.670
calm scenes accompanied by the sunset

420
00:22:33.670 --> 00:22:36.240
The setting used for contemplation

421
00:22:36.240 --> 00:22:39.640
These elements symbolize

422
00:22:39.640 --> 00:22:43.538
the impersonal nature of the city

423
00:22:43.538 --> 00:22:47.388
and are used to depict mechanical convenience

424
00:22:47.388 --> 00:22:50.000
humanity, rest, and escape

425
00:22:50.000 --> 00:22:52.359
And visual motifs are

426
00:22:52.359 --> 00:22:55.199
used in a very profound way

427
00:22:55.199 --> 00:22:58.299
The subway, escalators, elevators

428
00:22:58.299 --> 00:23:01.537
and even the platforms used to board the EVA

429
00:23:01.537 --> 00:23:04.559
are all modes of transportation

430
00:23:04.559 --> 00:23:09.159
These elements, like the subway and escalators

431
00:23:09.159 --> 00:23:12.101
are sometimes used as means of escape

432
00:23:12.101 --> 00:23:15.499
and are also utilized to symbolize the direction of one's life

433
00:23:15.499 --> 00:23:17.399
The elevator

434
00:23:17.399 --> 00:23:19.802
with its vertical movement

435
00:23:19.802 --> 00:23:23.087
It's used to depict hierarchical structures

436
00:23:23.087 --> 00:23:24.737
It also serves to symbolize the confrontation between

437
00:23:24.737 --> 00:23:28.639
Rei and Asuka and rise and fall of psychological state

438
00:23:28.639 --> 00:23:32.639
The EVA's platforms are used to symbolize

439
00:23:32.639 --> 00:23:36.089
the forced journey to the battlefield

440
00:23:36.089 --> 00:23:39.759
responsibility, and an inescapable fate

441
00:23:39.759 --> 00:23:43.359
As I mentioned earlier, the liquid LCL is used

442
00:23:43.359 --> 00:23:47.209
as a symbol of return to the womb

443
00:23:47.209 --> 00:23:50.800
the dissolution of individuality, 
amniotic fluid, and the uterus

444
00:23:50.801 --> 00:23:54.399
and the sea and swimming pools also appear

445
00:23:54.399 --> 00:23:58.649
They represent traces of the past of this world

446
00:23:58.649 --> 00:24:03.649
the setting of the Second Impact

447
00:24:03.649 --> 00:24:06.000
as well as the duality of purification and contamination

448
00:24:06.000 --> 00:24:08.250
In the case of Asuka

449
00:24:08.250 --> 00:24:11.600
they also appear as spaces 
where she seeks to confirm her own identity

450
00:24:11.600 --> 00:24:14.350
Despite being a mecha work

451
00:24:14.350 --> 00:24:16.320
this piece notably features a lot of blood and wounds

452
00:24:16.320 --> 00:24:20.473
It can be quite brutal at times

453
00:24:20.473 --> 00:24:23.173
with a lot of bloodshed visible

454
00:24:23.173 --> 00:24:28.399
despite it being a mecha robot work

455
00:24:28.399 --> 00:24:30.622
I think these elements were used

456
00:24:30.622 --> 00:24:33.200
very effectively to visualize the violence

457
00:24:33.200 --> 00:24:36.800
At the same time, it effectively portrays the mecha

458
00:24:36.800 --> 00:24:41.519
not just as a mechanical entity

459
00:24:41.519 --> 00:24:46.731
but as a bio-organic weapon

460
00:24:46.731 --> 00:24:48.181
emphasizing relatable human aspects

461
00:24:48.181 --> 00:24:50.880
like emotions and wounds

462
00:24:50.880 --> 00:24:54.559
Various situational motifs are also used

463
00:24:54.559 --> 00:24:58.109
The desire to escape is

464
00:24:58.109 --> 00:25:00.485
one of the major motifs

465
00:25:00.485 --> 00:25:04.635
The character Shinji engages in various forms of escape

466
00:25:04.635 --> 00:25:07.769
These kinds of aspects take on different stories and reasons

467
00:25:07.769 --> 00:25:13.469
in the beginning, middle, and later parts of the work

468
00:25:13.469 --> 00:25:18.558
These elements connect escape and ultimately return

469
00:25:18.558 --> 00:25:24.308
symbolizing the repetitive nature of life

470
00:25:24.308 --> 00:25:26.108
which was a personal impression I had

471
00:25:26.108 --> 00:25:28.938
It’s an interesting aspect to observe

472
00:25:28.938 --> 00:25:31.588
as each time the escape is repeated, 
there are subtle differences

473
00:25:31.588 --> 00:25:34.138
 and how Shinji eventually returns is

474
00:25:34.138 --> 00:25:37.589
one of the more intriguing parts of the story

475
00:25:37.589 --> 00:25:41.730
There is also frequent appearance of phone calls

476
00:25:41.730 --> 00:25:43.480
and communication breakdowns

477
00:25:43.480 --> 00:25:48.201
In the phone conversations with the character Gendo

478
00:25:48.201 --> 00:25:51.768
the physical characteristics, brief instructions and orders

479
00:25:51.768 --> 00:25:54.959
emotionless commands, 
and the abrupt termination of conversations

480
00:25:54.959 --> 00:25:59.159
These represent the breakdown of the father-son relationship

481
00:25:59.159 --> 00:26:04.809
represent the breakdown of the father-son relationship

482
00:26:04.809 --> 00:26:07.239
and the severing of that connection

483
00:26:07.239 --> 00:26:10.439
These elements are effectively used 
to depict a portrait of the modern family

484
00:26:10.439 --> 00:26:13.360
highlighting the emotional distance
and breakdowns in communication

485
00:26:13.360 --> 00:26:16.110
The voice message with the character Misato

486
00:26:16.110 --> 00:26:20.037
when she conveys her true feelings in the final moment

487
00:26:20.037 --> 00:26:22.437
it represents a late expression of motherhood

488
00:26:22.437 --> 00:26:26.348
and serves as a farewell message, 
almost like a dying declaration

489
00:26:26.348 --> 00:26:28.848
While physically disconnected

490
00:26:28.848 --> 00:26:32.398
these elements are used as a tool

491
00:26:32.398 --> 00:26:34.919
to reconnect through messages

492
00:26:34.919 --> 00:26:39.045
the work effectively utilizes

493
00:26:39.045 --> 00:26:43.102
the themes of separation and connection

494
00:26:43.102 --> 00:26:45.480
making powerful representation

495
00:26:45.480 --> 00:26:47.880
This work can be described as

496
00:26:47.880 --> 00:26:51.199
one that strategically uses music and sound effects

497
00:26:51.199 --> 00:26:53.599
The music in the work carries multiple meanings

498
00:26:53.599 --> 00:26:57.362
In the case of Shinji, he uses the SDAT

499
00:26:57.362 --> 00:26:59.800
I'm not sure what the S stands for

500
00:26:59.800 --> 00:27:02.600
but DAT stands for Digital Audio Tape

501
00:27:02.600 --> 00:27:06.606
The SDAT, which appears intentionally in the work

502
00:27:06.606 --> 00:27:10.056
is a portable music player 
resembles the real world one at that

503
00:27:10.056 --> 00:27:11.919
The portable music player

504
00:27:11.919 --> 00:27:15.240
Music is portrayed through this device

505
00:27:15.240 --> 00:27:19.759
The protagonist listening to this music player is often depicted

506
00:27:19.759 --> 00:27:22.800
This can be seen as an expression of solitary monologue

507
00:27:22.800 --> 00:27:26.050
The symphonic music the protagonist frequently listens to

508
00:27:26.050 --> 00:27:28.880
representing Western classical authority

509
00:27:28.880 --> 00:27:34.879
carries the meaning of rejecting reality

510
00:27:34.879 --> 00:27:38.280
It is used as a tool for blocking 
the harsh reality the protagonist lives in

511
00:27:38.280 --> 00:27:42.629
conveying this sense to the audience

512
00:27:42.629 --> 00:27:47.347
And the song, Fly Me to the Moon

513
00:27:47.347 --> 00:27:50.080
frequently appears as background music

514
00:27:50.080 --> 00:27:53.679
arranged in very different ways for each episode

515
00:27:53.679 --> 00:27:58.479
And it is effectively used for transition of and to transform

516
00:27:58.479 --> 00:28:00.240
the atmosphere in each episode

517
00:28:00.240 --> 00:28:05.248
Additionally, the spontaneity and unpredictability of jazz

518
00:28:05.248 --> 00:28:10.960
are appropriately utilized 
as expressions of love and admiration

519
00:28:10.960 --> 00:28:12.710
which I think is one of the interesting points

520
00:28:12.710 --> 00:28:14.880
 for the audience to enjoy

521
00:28:14.880 --> 00:28:16.080
And there is this main theme song

522
00:28:16.080 --> 00:28:18.759
called, A Cruel Angel's Thesis

523
00:28:18.759 --> 00:28:21.709
To analyse the lyrics, Boy, become a legend

524
00:28:21.709 --> 00:28:22.979
A hero who challenges fate

525
00:28:22.979 --> 00:28:27.087
The lyrics depict the duality

526
00:28:27.087 --> 00:28:28.559
of cruelty and the mission

527
00:28:28.559 --> 00:28:31.479
So, the music for battle scenes, everyday scenes

528
00:28:31.479 --> 00:28:36.080
and even strategic silences are used very effectively

529
00:28:36.080 --> 00:28:39.130
I was really impressed

530
00:28:39.130 --> 00:28:41.800
 by how these music tracks

531
00:28:41.800 --> 00:28:43.520
are layered and utilized so effectively

532
00:28:43.520 --> 00:28:46.160
It is also one of the highly praised elements

533
00:28:46.160 --> 00:28:49.639
If you pay close attention to this part

534
00:28:49.639 --> 00:28:53.759
I think it could add an interesting element

535
00:28:53.759 --> 00:28:57.077
I have introduced the work Evangelion

536
00:28:57.077 --> 00:28:59.279
The fantasy of giant robot battles against the Sado

537
00:28:59.279 --> 00:29:01.479
Throughout the story

538
00:29:01.479 --> 00:29:04.839
there lies the trouble real life adolescents go through

539
00:29:04.839 --> 00:29:07.960
and the fact that it depicted the growing pain well

540
00:29:07.960 --> 00:29:09.800
holds significant meaning

541
00:29:09.800 --> 00:29:14.960
Especially, the education system and the family system of

542
00:29:14.960 --> 00:29:17.640
Korea, Japan or countries in the south east Asia

543
00:29:17.640 --> 00:29:21.279
effectively intertwines the relationships between characters

544
00:29:21.279 --> 00:29:25.679
having many elements for empathy

545
00:29:25.679 --> 00:29:28.559
that I believe made the work more relatable

546
00:29:28.559 --> 00:29:32.760
to growing adolescents

547
00:29:32.760 --> 00:29:35.279
In that sense, I wanted to introduce it to you

548
00:29:35.279 --> 00:29:36.179
Thank you

549
00:29:37.435 --> 00:29:39.935
Evangelion Works and Character Analysis
Evangelion Works Characteristics
Characters who conflict within the ambiguous good-evil structure
A lot of time and direction is spent on describing the protagonist's psychology
Although it is an action film, many static scenes appear

550
00:29:39.935 --> 00:29:42.414
Characteristics of Evangelion protagonists that evoke empathy
A teenager with realistic concerns about his relationship with his parents, self-identity, and relationships with people around him
An imperfect hero who makes repeated mistakes and regrets

551
00:29:42.414 --> 00:29:44.031
Character gazes and eye contact
Characteristic eye contact techniques
Direct gaze at the audience in monologue scenes

552
00:29:44.031 --> 00:29:45.607
Adjusting the distance between camera and audience
Different gaze handling of characters in group scenes
Subjective point of view from the cockpit

553
00:29:45.607 --> 00:29:47.305
Use of meta gaze
Intersection of reality and fantasy
Incorporation of live action footage to expose the animation process
Mix of multiple perspectives