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Straddling popular generic cinema and the Japanese New Wave, Seijun Suzuki's work can be classified as a "pop-Brechtian" mixture of materials high and low. This short essay reappraises Suzuki in the light of his FIGHTING ELEGY (1966) and YOUTH OF THE BEAST (1963), connecting his formally disjunctive work to the template of the Japanese New Wave.
Journal of Japanese and Korean Cinema
I don't masturbate, I fight!: The Spectre of Kita Ikki in Suzuki Seijun s Kenka Ereji Fighting Elegy 1966.pdf2018 •
This paper reconsiders the genre filmmaker Suzuki Seijun's relationship to the political moment of 1968 through a reading of his 1966 film Fighting Elegy. This reading is informed by critical discourses surrounding Suzuki at the time, particularly drawing from a 1969 essay on the film by critic Gondō Susumu at the cinephile film journal Cinema 69. It argues that his methodology of seeking out the film's reactive structure of interest helps to understand the politics of the film, and in turn helps us to recover the politics within Suzuki's Nikkatsu filmography as a whole, as well as that of the cinephiles, who have frequently been written off as simple formalists. This paper expands on the involvement of members of the radical Wakamatsu Production Company in Fighting Elegy and his other late Nikkatsu and post-Nikkatsu work, as well as its unfilmed sequel, whose screenplay was published in the wake of the Suzuki Seijun Incident in 1968.
The Journal of Japanese Studies
Time and Place Are Nonsense: The Films of Seijun Suzuki by Tom Vick2019 •
CINEMA & Cie. International Film Studies Journal
Transition in the Japanese Youth Cinema 1956-1960: From the Taiyozoku Phenomenon to the New Wave2010 •
After acquiring skill as a television documentary director, Hirokazu Kore’eda released in 1995 Maboroshi no hikari, his first feature film for the big screen. Also trained in the television medium, Shunji Iwai debuted in theaters in the same year with Love Letter. While Kore’eda’s film was apparently oriented to the festival circuit and to appeal to a cinephile audience, Iwai’s production looks as if it were intended for the mainstream. Both filmmakers are considered prominent leading figures of the Japanese cinema revival of the 90s. They are often mentioned as part of the so-called Second New Wave or New New Wave of Japanese Cinema. But, is it appropriate to put such apparently diverse artistic proposals under the same label? A critical approach to the articulation of that idea will be traced from the comparative analysis of those debut films, as samples of the forthcoming career of both authors. By exploring their common aspects and divergences, and without losing sight of the works of other contemporary filmmakers, this paper aims to outline a review on the account of Japanese cinema in recent years.
The Journal of Japanese Studies
Translating Prewar Culture into Film: The Double Vision of Suzuki Seijun's Zigeunerweisen2004 •
Colloquy: Text, Theory, Critique
Late Japanese New Wave Documentary and Cinematic Truth: Charting the Theory and Method of “Graphic Sensitivity” Towards Cultural Otherness2012 •
2010 •
Japan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the Pure Film Movement, changed not only the way films were made, but also how they were conceived. Looking closely at the work of critics, theorists, intellectuals, benshi artists, educators, police, and censors, Gerow finds that this trend established a way of thinking about cinema that would reign in Japan for much of the twentieth century.
An essay on Teshigahara Hiroshi's The Face of Another. Here the essay analyses the film's themes on post-war Japanese society, the growing sense of isolation, and the memories of war.
Contemporary Japan
From the traditions of J-horror to the representation of kakusa shakai in Kurosawa's film Tokyo Sonata2010 •
This article investigates the popular cultural implications of the “gap-wid- ening society” (格差社会, kakusa shakai) as identified by Yamada Masahiro. A re-cent revival of sociological terms like freeter and NEET in popular cultural media reflects an increasing concern with the rapidly changing social landscape in contemporary Japanese society. Starting with the phenomenon of postwar economic growth, each subsequent generation of Japanese has allegorically and symbolically represented the dramatic social changes they experienced through popular cultural media like film and manga. This article also examines how Japan’s growing stratification is situated within the popular cultural media of recent films. Special consideration is given to the plight of Japan’s older working-class generations who are profoundly affected by the accelerating kakusa shakai trend of recent years. This concern is especially evident in the film Tokyo Sonata directed by Kurosawa Kiyoshi in 2008, which depicts a family in crisis because of the traditional breadwinner losing his job. In comparison, Tanada Yuki’s Hyakuman-en to nigamushi onna [百万円と苦虫女, One million yen and the nigamushi woman], which was also published in 2008, depicts the contemporary social challenges of the much younger freeter generation upon graduating from university. The aim of this investigation is to gauge how the current discourse on Japan’s “gap-widening society” is encoded in recent literature and films.
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Bastos, C. (2023). Unseen Diasporas: Portuguese Labor Migrants in Colonial Plantations. In Anna Tybinko, A., Aidoo, L., Silva, D. F. (Eds.), Migrant Frontiers: Race and Mobility in the Luso-Hispanic World. Liverpoool: Liverpool University Press
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