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A JAPANESE FILM MAGAZINE


We are confident that despite being a small team, we can deliver a new type of film magazine because we are passionate, deeply motivated and hard working. We have a stable of talented writers and designers who can craft a unique magazine that will inspire you. 

We welcome people to the wonders of Japanese cinema through beautiful design, illustration, photography, and a variety of mediums.

 

 

 

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A JAPANESE FILM MAGAZINE


We are confident that despite being a small team, we can deliver a new type of film magazine because we are passionate, deeply motivated and hard working. We have a stable of talented writers and designers who can craft a unique magazine that will inspire you. 

We welcome people to the wonders of Japanese cinema through beautiful design, illustration, photography, and a variety of mediums.

 

 

 

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Dai Tabuchi


THE FOUR - Issue #4

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Dai Tabuchi


THE FOUR - Issue #4

WHY WE EXIST

We are GIGAN, which is short for gigantic! Founded in October 2013 in London, the idea of the magazine comes from passionate people. Through experiences traveling around the world, we found that Hollywood films dominate film markets despite Japanese cinema also being entertaining and socially valuable as well as having unaltered original content and great storytelling. We want to share great cinema experiences that can change your world. 

We believe just one 90 minute film can change the views of a lot of people, regardless of their nationality, religion, background and whatever else might make that person unique – film can affect everybody. This journey will not be easy because we are challenging conventional wisdom, but we believe this challenge is not only for Japanese cinema, but also for any countrys film industry if they wish to succeed globally. We hope to break down the status-quo and create a new culture. 

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Paul young


THE ONE - Issue #4

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Paul young


THE ONE - Issue #4

HOW WE DO It

It is simple. We will deliver quality writing - often exclusively from Japan with high quality images and a focus on design which makes articles stylish while still delivering information efficiently in the magazine and on the website.

We believe we should not just sell or buy films; rather we should increase the audience for them. In order to do this, we will change the way we communicate with audiences through the power of GIGAN magazine’s content and design by covering intriguing Japanese filmmakers and films with diverse perspectives through unique features such as: design, music, fashion, travelling, and whatever else is related to the films that are produced. Since film involves various components which help tell many unique stories we have a lot to cover. 

We will actively find innovative and unique films and to deliver a strong message; we will not wait until someone else takes action. 

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kino iglu


THE PLACE - Issue #4

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kino iglu


THE PLACE - Issue #4

WHAT WE DO

We are an annual independent publication that focuses on the world of Japanese cinema. Print delivers a strong message that endures well into the next generation so we can deliver the message in the Gigan magazine, and create a new movement around the world. The more enjoyment and appreciation we create, the more Japanese cinema will become internationally recognized. 

Do not be afraid of taking risks in backing projects - after our first year of publishing it, we have learned from various experiences and by looking at numerous other magazines, plus talking to diverse people from other cultures and around the world. We will continue to learn from others and demonstrate this again and again over the course of the magazine's life. 

Film magazines often retain similar styles of images and formats, but we want to be an exceptional magazine that focuses on creativity. With "redesigning", we are taking Japanese cinema to a whole new place. 

 


Team


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Team


 

YOSHITO SEINO

Chief Editor 

JAPAN

 I was born in Iwate where is a northern prefecture of Tohoku and moved to Osaka for an academic life. I am a graduate from a graduate school of law and politics, specialized in international law course at Kwansei Gakuin University. I trained journalism in the daily newspaper and now am working as a contributor on Japanese entertainment magazines. 


JASON MAHER 

Review Editor

UNITED KINGDOM

I am a graduate from the Creative and Professional Writing Course at the University of South Wales, UK. I write for magazines and websites as a critic news and features writer and specialises in East Asian cinema. 


MATTHEW MICHAUD

Editor / Writer 

CANADA

My introduction to film started when my family moved to a small settlement in the interior of British Columbia. I found myself the child of country store proprietors with walls stacked high of VHS cassettes at my disposal. I indulged myself watching such 90's classics as Ace VenturaBenny & Joon, and No Escape. It wasn't until my undergrad, that I became immersed in the French New Wave, Film Noir, and directors such as, Akira Kurosawa, Takashi Miike, and Hayao Miyazaki. I now teach English at a Japanese university, where I share my passion for movies and media by using film analysis, Pecha Kucha, and script writing in my lessons. 


FAUSTO VERNAZZANI

Writer

ITALY

An Italian with European ambitions, I have been living with the influence of cinema without knowing it until I discovered how wonderful world have been to embrace it as an addiction. Big budget movies, indie films, my passion for the film world has grown with both Western and Eastern productions, but Asian cinema has been the one to dig the love for the seventh art out of me. From Akira Kurosawa and Kenji Mizoguchi era to the times of Sion Sono and Yoshihiro Nakamura, Japanese cinema has been an inspiration in either my life behind the camera as well as screen, leading me to write for several magazines in Italy and outside of it, especially Eastern Kicks. 


FRANCECA FICHERA

Writer

ITALY

I grew up in Naples, Italy, reading a lot of manga and watching Akira Kurosawa's films. At the start of high-school where I focused studies on humanistic disciplines, my passion for cinema was clearly concretized - The next step was bachelor degree in Music, Visual and performing Arts, with a special regard to History and Critic of Cinema where was the heart of my thesis. Now I am learning in Public and Social Communication in order to get cinematic knowledge literally with different point of view.


DANIEL KNIGHTON 

Writer

THE UNITED STATE OF AMERICA

I grew up in the Washington, DC. Metro area. My mom and dad took me to the movies a lot when I was younger but as they were divorced the viewing experience were different. I liked to get my mom to take me to see the big budget blockbuster, I just saw with my dad to see how her impression of the movie, and the overall experience, compared. I was also dazzled by the alternate worlds on the screen where the white house get blown up by a spaceship or the highway by my house gets hit by a tidal wave. When I was older, the Taiwanese film Goodbye Drago Inn pried open my eyes to the alternative, more surreal world film can make, not following the boring story chart methods I was taught in school. Taking a linking for foreign and art films, especially Asian films, I desired to travel. I studied Asian studies with film and Japanese minors at Old Dominion University. In college I traveled to Japan and China, searching for the worlds that inspired some of my favorite movies, then after college doing the same working in South Korea. After moving to New York City, I was inspired by the professional artist as much as I was disheartened by the culture that won't budge. The only way to keep matters in my own hands was to keep traveling. Now I live in Tokyo.


Three bears theory 

Design Team

UNITED KINGDOM / THE NETHERLANDS

Three Bears Theory is a graphic animation studio that communicates with design, illustration and animation. The design director, Maxwell A. Davis has previously worked with many advertising agency including TBWA/London and he has been is lucky to have worked with many brands - Google, Audi, Lenovo and more. The communication design philosophy of Maxwell and how is studio approach the work is simple, "maximum meaning, minimal means", as the famous British graphic designer Abram Games once said.


CONTRIBUTORS

SHIZUKA KIN

NATSUMI SHIROKO 

KENTA KATO

MGP 

RUDY VAN OS 

KEITA JIMMY HARA 

RYKART KOSAKA 

HANA SATO 

HYMN WONG 

SHIGEFUMI GOTO 

KAZUKI GOTO 

 

 

Film magazines are a fetiliser supporting the importance and cultural meaning of films beyond what newspapers and other media can do, and are essential to film lovers. It’s great to see that there is a new magazine, Gigan focused on the world of Japanese cinema.
— Jeremy Thomas, Academy Award Wining Producer of A Dangerous Method and Sexy Beast
Gigan is a magazine looking to open up Japan’s independent filmmaking culture by sending it out into the wider world, while delivering a few home truths too...
— Monocle