#Nagisha Oshima

[coulisses-onirisme]

Il n'y a aucune déraison à côtoyer une Salomé, femme naturelle, c'est à dire abominable comme le disait (effrayé) Charles Baudelaire. La mienne danse avec les mots et obtient ce qu'elle aurait pu demander, la reconnaissance de sa force passive, de sa **vitgueur**.

La tête sur un plateau !

Certaine castration ne sont pas mortelles comme dans L'empire des sens de Nagisha Oshima. 

La tête tranchée rituellelement, ce n'est pas la vengeance cathartique d'Artemisia Gentileschi, in Judith et Holopherne. 

Lire suffit pour mesurer l'influence subreptice et sans stratagème. 

Elle m'a fait couper la tête par mon ombre. 

There is no unreason in rubbing shoulders with a Salome, a natural woman, that is to say abominable as Charles Baudelaire (frightened) said. Mine dances with words and gets what she could have asked for, the recognition of her passive strength, her **vitgueur**.

Head on a platter!

Some castrations are not fatal as in Nagisha Oshima's Empire of the Senses. 

The ritually severed head is not the cathartic revenge of Artemisia Gentileschi, in Judith and Holopherne

Reading is enough to measure the surreptitious influence without stratagem. 

She had my head cut off by my shadow.  

[muntzerism-diggerism]

I need to find the documentary about the Yomiuri Giants Nagisha Oshima made in the 70s

[byneddiedingo]

Isao Sasaki and Kayoko Honoo in The Sun's Burial  (Nagisa Oshima, 1960)

Cast: Kayoko Honoo, Masahiko Tsugawa, Isao Sasaki, Fumio Watanabe, Katamari Fujiwara, Tanie Kitabayashi, Junzaburo Ban, Eitaro Ozawa. Screenplay: Toshiro Ishido, Nagisa Oshima. Cinematography: Takashi Kawamata. Production design: Koji Uno. Film editing: Keiichi Uraoka. Music: Riichiro Manabe.

A harrowing portrait of gangster life in Osaka, filmed with the kind of widescreen eloquence that Nagisha Oshima and cinematographer Takashi Kawamata brought to Cruel Story of Youth, made the same year. This is a cruel story of all ages in the Japanese underworld, with a remarkable performance by Kayoko Honoo as the ruthless young woman who survives (and perhaps thrives on) degradation.

[emvisual]

El ladrón de Shinjuku. Nagisa Oshima, 1968.

via: @riceli

[a-scanner-darkly]

Diary of a Shinjuku thief • Tadanori Yokoo (1969) • Japanese Film Poster for Nagisha Oshima's Movie (Two diffetent versions) • Source : Sébastien Morlighem + Dangerousminds.net

[frgmtx]

Japońskie kryminały:

1. A Colt Is My Passport (1967) Takashi Nomura

2. The Bad Sleep Well (1960) Akira Kurosawa

3. Take Aim At Police Van (1960) Seijun Suzuki

4. Pogrzeb honoru (1965) Kinji Fukasaku

5. Młodość bestii (1963) Seijun Suzuki

6. Goodbye South, Goodbye (1996) Hsiao-hsien Hou

7. Made in Hong Kong (1997) Fruit Chan

8. The Big Heat (1988) Johnnie To

9. Violent Cop (1989) Takeshi Kitano

10. Outrage (2010) Takeshi Kitano

11. Outrage Beyond (2012) Takeshi Kitano

12. Yakuza Papers

13. Człowiek z Tokio (1966) Seijun Suzuki

14. Pale Flower (1964) Masahiro Shinoda

15. Vengeance is Mine (1979) Shohei Imamura

16. Boiling Point (1990) Takeshi Kitano

17. Sonatine (1993) Takeshi Kitano

18. Youth of the Beast (1963) Seijun Suzuki

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.

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<<<<<<<<<<<<<<<<<<<<<<<<<<<Inne>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>                                      

1. Morze Zółte (2010)

2. Fulltime Killer (2001) Johnnie To

3. Ichi: The Killer (2001) Takashi Miike

4. Bullet Ballet (1998)  Shinya Tsukamoto

5. Tokyo Fist (1995) Shinya Tsukamoto

6. Tetsuo - The Iron Man (1989) Shinya Tsukamoto

7. Burst City (1982) Gakuryu Ishii

8. Shuffle (1981) Gakuryu Ishii

9. Good For Nothing (1960)

10. The Sun's Burial (1960) Nagisha Oshima

11. Funeral Parade Of Roses (1969)

12. Kobieta znad jeziora / Onna no mizûmi (1966)

13. The Man Who Left His Will on Film (1970) Nagisha Oshima

14. Hana-Bi (1997) Takeshi Kitano

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[filmjrnl365]

#31 In the Realm of the Senses  (1976)

Directed by: Nagisa Oshima

Like most of Nagisa Oshima’s movies, this is based on fact. In 1936 a young woman named Sada Abe was found wandering in the streets of Tokyo, apparently in a state of bliss, clutching a severed penis. It was discovered that her (married) lover Kichi had died in a sexual climax with her some days earlier, and that she had taken the genitals from his body as an assertion of their continuing passion for each other. As one of the first women in Japan to have her sexuality in any sense made public, Sada attracted considerable sympathy, and was finally sentenced to only six years’ imprisonment. According to Oshima, the mention of her name is still synonymous with the breaking of sexual taboos in Japan.

– Tony Rayns, Film Comment, Sept /Oct. 1976 issue

 “I guess you have to approach death to feel the height of ecstasy” – Sada Abe

The erotic imagery in this film is pervasive. It centers around the sexual relationship between Sada Abe (Eiko Matsuda ) and Kichizo Ishida (Tatsuya Fuji). The storyline takes the viewer directly into a dangerous terrain of taboos such as, adultery, voyeurism, perversity, sexual violence and death. Through each of these taboos, virtually every character in the story has to confront, as one reviewer put it, “the implications of true sexual passion”.  In 1976, perhaps even today, the film might be dismissed as pornographic, but there is much more at stake in this film other than a an exercise in cinematic arousal.

At its core, the film deals with lust and obsession. The couple entangle themselves in the pursuit of continual pleasure, in a slow escalation to a breaking point, where unrestrained obsession becomes the intimate transaction of final control vs. selfless surrender. The film is a meditation on complete freedom. The two lovers are encapsulated in their own private world, and address every sexual transgression until they find themselves at this point of sacrifice.

It is revealed early in the story that Sada is married to a man whose business has failed and she has been forced into a life of prostitution in order to make money. Sada encounters her lover Kichi, while working at an inn. She is not above ridicule or the infringing social rank of the other women at the establishment. Kichi, wearing a fox –like mask is introduced to Sada after diffusing a kitchen brawl between the women. Sada has already seen Kichi via a voyeuristic glimpse of him and his wife in an intimate encounter. The attraction between the two has been triggered, and Sada and Kichi soon become involved in an affair. What follows is Nagisa Oshima’s depiction of a true story, in sympathetic portrayal, of a couple complicit in genuinely deep carnal obsessions. The film does not cast a judgmental eye on Sada or her lover, no matter how grotesque the encounter. It is made clear in several situations in the story that any dismissive condescension or moral judgement passed on the couple’s rampant sexual proclivities is laughed off or is met swiftly with angry confrontation. This is how Oshima’s handling of the narrative slides past taboo. It keeps going on in an exhaustive, compulsive frenzy, rarely stopping long enough to deliberate the moral obstacles.

Gorgeous cinematography and sparse musical interludes expose several reoccurring themes / images of the film. The first is the repeated reference to the image of the voyeur. There are several instances where the voyeuristic gaze of a servant or jealous lover has to deal with the visual intensity and resulting emotional response to seeing sexuality on display. There are situations where voyeurism itself is confronted with an intentional exercise of power (Kichi’s wife negotiating Sada’s employment while she is making love to Kichi). There are also scenes where lurid voyeurism is enacted out of squeamish, innocent curiosity (young courtesans force one of their own to watch Kichi and Sada enaged in noisy sex). In yet another scene, an older female servant at the inn, witnessing the flagrant display by the lustful couple remarks, “It’s cruel to tempt a woman my age with such a sight.” This is followed by her standing in a darkened hallway outside their room, listening to the lovers, and she is forcibly assaulted by Kichi soon after. Here is the fundamental tension of the voyeuristic impulse which the film deliberates on in various ways. What is to be done with what is now willingly being witnessed? The film’s response: the voyeur typically wants to see more, but at certain critical point, watching is no longer sufficient and covertly observing the spectacle becomes unsatisfying. Distance and anonymity have to be sacrificed as the voyeur is compelled to make contact with more than just the eyes. This is the proposition made not only to the story’s characters, but the viewers of the film as well.

Coupled with voyeurism are the repeated images of knives, blades and mirrors; At various times we see Sada wielding a knife or a lover’s facial response caught in a mirror while dressing. The blade is an unsettling image amidst all the soft exposed flesh. But these images serve to underscore the deliberate reflection and finality of Sada and Kichi as they perpetrate a death of their own conspiracy. She will survive, he will not. In the midst of the sexuality, choking Kichi to death comes across less as an act of murder, and more as a final gift of ultimate pleasure bestowed from one lover to another.

In the Realm of the Senses is about power, the power of watching, the power of sexuality in all its forms, passionate, abusive, personal or remote. It follows a path, a death wish, similar to Marquis de Sade, where the complete extension of freedom obliterates moral / social / personal boundaries and one is faced with total physical and psychological annihilation. In this story, immeasurable longing is absolved by the final mortal act where one moves beyond, and one is left behind. The movie culminates in a final scene; a bloody aftermath where Sada has castrated her dead lover and inscribed passionate words in blood over his body. So, to say that In the Realm of the Senses is a movie concerned exclusively with the portrayal of sexuality would be to miss its true imperative. It graphically exposes our deepest fears by way of pleasure. It addresses our obsessions when they convert to madness, and engages the finality of death disguised as a pleasurable escape.

[facepalminmovies]

Taiyo no Hakaba (Nagisa Oshima, 1960)

[drugstore-filmlab]

THE MAN WHO LEFT HIS WILL ON FILM (1970) - DIR. NAGISA OSHIMA

[filmandimage]

1971 | THE CEREMONY | Nagisa Ôshima

[ametros]

Feliz Navidad Sr Lawrence. 1983. Nagisha Oshima

Ryuichi Sakamoto y David Bowie