As an afterthought to that post, I
thought I would quickly add one more example in the form of the
‘Dreamland’ amusement park – a fictional fairground that exists
within the world of Satoshi Kon’s Paprika. It was one year
ago today that I first posted on the subject of Depiction and Fiction
in relation to this film, as a tribute to mark the death of Kon. He
has now been gone for four years and as such I find this particular
moment all the more pertinent.
The story of Paprika is about a
machine that allows one to enter into another person’s dreams, and
so we can read the name of the park ‘Dreamland’ as a play on
this. Like the rides of Pooch Island, what we have here is a
fairground that exists only as a depiction, with its rides and
attractions only appreciable on the aesthetic rather than
experiential level. But if we look at the mascot figures appearing on
the sign, the story becomes more conceptually complex.
As many of the previous posts on this
subject would have pointed out, we have a multilayered complexity to
the mascot figures; they are animated depictions of model depictions of
fictional characters – doubly-fictional characters in the diegesis
of Paprika. But eagle-eyed viewers will notice that these
figures are the lead characters of Kon’s last – still unfinished
– film The Dreaming Machines. The moment is designed as an
inside joke, a reference to a film still in preproduction, but it
turns Kon’s film into a text-within-a-text, a fictional film that
the characters of Paprika might go and see.
The fact that the film will probably
never be completed makes this moment all the more bittersweet – our
only glimpse of Kon’s final work will always be nestled within
another fiction, a depiction of a film appearing in his actual
final film. This makes the end of his career, quite fittingly, a
little like a cinematic ouroboros, always conceptually folding in on
itself, much like the subject matter of his work.
- P.S.
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