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Translation notes for Hishakai Shindo / Depth of Field ep 5

Obligatory obrigada to @my-rose-tinted-glasses

I think I like you... in this way.

I'm really sorry. I'm loose, so I'll give anyone a kiss… I'll be more careful (not to do so) next time/again. Well then/see you. Note: He's saying he's a bit of a slag. Note: He uses 'chuu', which is a kiss without tongue.

Hayakawa stopped having a need to take refuge in/to escape to the rooftop.

It's just that, strangely, that face (he made) is still stuck in my mind.

Isn't either fine? If the person I like is of the opposite sex, I like someone of the opposite sex. If the person is of the same sex, then I like someone of the same sex. When I meet a wonderful person, I can be either of those. Note: The terms he uses are heterosexual and homosexual, but I thought that in this context, it would make more sense to use the literal meanings of the words.

Really? I only know the Hayakawa of now/recent times, so that's new to me.

There's something that's always been on my mind/that I've been curious about. The reason you stopped coming to the rooftop. If I consider the reason why you were there, I think it wasn't bad (that you stopped coming). But it's always been stuck in my mind. Hayakawa. Was (what you said to me) really a lie?

Hishakai Shindo / Depth of Field translation notes・Other translation notes

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While doing some research for a post, I stumbled onto an academic article comparing elements of one of the most popular traditional forms of Thai theater, Likay (sometimes called yike or yeeke)*, with Bertolt Brecht's alienation effect, a dramaturgical theory in fact derived from observation of Chinese theater traditions. The abstract and link for the article written in both Thai and English is below.

Scholar Paradee Tungtang at Khon Kaen University used a quote from an interviewee to title his article, "Yes, We Fully Realize We're Watching A Play," which gets at the heart of the alienation effect. The production elements--performances, sets, scripting, pacing--are meant to withhold the audience from fully submerging their consciousness into the world of the play. Then, the theory goes, they can better interpret the story rather than identify with it.

When complaints about Thai QL productions come from people, especially those who prefer their Korean counterparts or the more Western-influenced Thai directors (Boss Kuno, Aof Noppharnach, and Jojo Tichakorn), they seem to often be reacting to the elements that derive from these aesthetic goals, believing them to be poor taste, mistakes, or budgetary limitations rather than conscious choices with aesthetic value. Some elements certainly are due to budgetary restrictions, but the on-location guerilla shooting style of The Eighth Sense or GelBoys (shot entirely with iphones) that gets praised for its quality is significantly cheaper than the brightly lit and highly blocked multi-camera scenes in a large ensemble series like Perfect 10 Liners. Both styles have their place and their reasons.

Then, consider more closely, the effect a silly sound effect has on you, or, how the blowjob bread product-placement in Kinnporsche or the dick grab in the middle of a tense gun fight pulls you out of the moment. For a moment, suspend your judgment about whether these intentional moments are 'good' or 'bad.' Certain popular strains of Western criticism would have us believe immersion is measure of quality, but why can't there be value in feeling jarred, experiencing a piece of art as ridiculous, being aware of our own witness to events?

As promised, here's the abstract with the link attached to the title of the article below.

"Bertolt Brecht, a German theatre practitioner in the mid-20th century, marked the success of his career by introducing his ‘Epic Theatre’ with the use of a dramatic technique called ‘Verfremdungeffecks’ (V-effect), or ‘alienation effect’. ‘Brechtian’ acting style, which has been developed, practiced and popularized worldwide for decades, was a reaction against the most popular forms of theatre and naturalistic acting. The highest goal for using the alienation effect (V-effect) is to make the audience always realize that they are watching a play; they will never be “taken out of themselves” or immerse themselves so completely into the illusion of the drama, that they may be distracted from the main content of the story. The expected outcome for using V-effect is that the audience can reach an intellectual level of understanding of the play. Some Brechtian techniques include ‘breaking the fourth wall’ by having actors come out of their characters and address the audience directly, having actors play multiple roles, using some symbolic ornaments to represent actual props, or using non-realistic scenic design which can be conveniently rearranged by actors in full view of the audience -- just to name a few. Likay, though generally categorized as a low form of theatre viewed by local Thai audiences, has been one of the most popular and traditional Thai theatre forms for centuries. Likay includes a mixture of performance styles comprising spoken improvisation, singing, dancing and natural acting, supported by a live classical music band. Having been performed for successive generations without any background knowledge related to Brecht’s V-effect or any western theatre theories, Likay has nonetheless strictly followed the rules of its traditional acting styles which, coincidently, are very much similar to Brecht’s V-effect. The conclusion can be drawn that even though Thai Likay is performed in a way as if the V-effect is fully adopted, the main difference may lie in the highest goal to be achieved by these two types of performances (Brecht’s epic theatre and Thai Likay).

Paradee Tungtang, “Yes, We Fully Realize That We’re Watching a Play. We Just Don’t Realize That It’s Brecht.”: An Analysis of Brecht’s V-effect Technique Used in Thai Likay Theatre

*Just for examples of its enduring popularity as well as what I assume to be its inclusion in the continuing push for Thai soft-power policies, Likay was depicted in Sweet Tooth Good Dentist by Mark Pakin and some older actors--the costume seen above--and likay performances are consistently included in the big live performances for GMMTV like LOLfest and the PeBaCa concert (and I recommend looking them up cuz they're always hilarious!)

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its like when a puppy gets attached to someone and starts mimicking their behaviors

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"Is there anyone else who'd be more effective than me? You'll have to spend a lot of time, looking for a date only now."

— 40 Made ni Shitai 10 no Koto (10 Things I Want to Do Before I Turn 40) 40までにしたい10のこと | EP. 01 (2025)

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I wanted to break down the first scene in 10 Things I Want to Do Before I Turn 40 / 40 Made ni Shitai 10 no Koto because there is some loaded meaning to this.

To celebrate his birthday, Suzume buys a strawberry shortcake, which is half price off, as indicated by the yellow and red sticker on the plastic cover of the box. He refers to the cake as a Christmas cake because in Japan, strawberry shortcakes are essentially The Christmas Cake. As his birthday falls on the eve of Christmas, it is also serves as his birthday cake. Notably, "Christmas Cake" is also an outdated term used to describe women and because unsold Christmas cakes are thought of as unwanted. Traditionally, women in Japan were expected to get married early, so not getting married after 25 suggested that they would no longer be wanted, since people only eat Christmas cakes until the 25th of December, which is Christmas. (source)

As such, the underlying meaning of the scene is that Suzume too, has past his prime and is no longer wanted, as a single 39 year old, which are also reflected by his own current beliefs about himself.

The gaga sub is wrong here. Suzume says "a guy who is almost 40".

In Japan, when you are almost 40, you can use the term "arafo", which means around 40, to describe yourself, but it's once again, used in terms of being 'old'.

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Are you willing to trust me now?

10 THINGS I WANT TO DO BEFORE I TURN 40 40までにしたい10のこと 2025, dir. Ikeda Chihiro, Kosuge Noriyoshi.

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Frank Langella (with, amongst others, Ron Moody and Mel Brooks) as the ‘devilishly handsome’ Ostap Bender, in Mel Brooks’ The Twelve Chairs [1970].

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Do me a favour and reblog this with a show you like that was cancelled after only one season. I don't mean shows that were always meant to be miniseries or shows that work perfectly well as a standalone story, or shows that might still get renewed. I mean shows that are and will forever remain unfinished. The more obscure the better.

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Has this been done yet

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sublime has released the cover for the september english release of the manga and SHSJDKSKSKKSKDXH I AM GOING TO BE SO ANNOYING ONCE THIS COMES OUT😭😭

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honestly? you love to see it

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should we kill him

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Jean Vigo’s “L’Atalante” September 12, 1934.

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From flesh removed our chalk footfall

Tempers this holy ground

Where timeless spirits meet

'Round the heart of Pottsfield town