Atman

Atman = Atomanu (1975) by Toshio Matsumoto is a deceptive and hypnotic film, shot in 16mm colour. A lone figure is seated in a chair situated in the middle of a river shoreline within a valley or gully; he is wearing a Japanese ‘Noh’ mask, in this case, the demonic character known as ‘Hangan’ in Noh theatre. The camera appears to encircle the figure with a panning and zooming action. Apparently the film is shot like animation films – shot by shot, and the movements are made according to a chart. The chart seen from above would most likely be a highly complex dotted star formation. The electronic film music was by Toshio Ichiyanagi – one of the most venerated of Japanese classical avant-garde composers. As the film progresses and we appear to zoom in and out towards the masked figure, the process gains speed in tandem with the music’s growing intensity. The word ‘Atman’ in Buddhism is most often translated as ‘soul’ ‘self’ and sometimes ‘ego’, and is seen as the prime cause of suffering; therefore it is that which we should overcome and detach ourselves in order to transcend – ‘samsara’ (rebirth) and reach the state of Nirvana. In Hinduism, by contrast, ‘Atman’ often refers to the highest self, in some schools of Hinduism it translates as ‘light’. Through a Jainist interpretation we would see the figure striving through a vortextual force to overcome ‘maya’ (illusion), ‘karma’ (action), ‘anava’ (ego). The Jains believe we evolve through contact with higher planets after death. It is intriguing to think of the spiralling motion as a method by which one can reach that level or planet. —M/C Reviews