“I forget who said that films are desires visualized, but for me, at least, film is the visualization of the director’s desire. But the director’s desire doesn’t appear in the film directly. It appears in all kinds of convoluted forms. My fear that my desire will appear in my films has always caused me to be extremely wary of making films, hasn’t it? Haven’t I made films to hide my desires instead? Trying to hide them made them appear even more vividly.”
Nagisa Oshima
March 31, 1932 – January 15, 2013
(Source: strangewood, via ikaristwin)
儀式 // 1971 // 監督 大島渚
except-musume:
(via 大島渚監督通夜の様子 - シネマトゥデイ)
Oshima Nagisa’s funeral
60sforever:
大島 渚 Nagisa Oshima (March 31, 1932 - January 15, 2013). R.I.P
白昼の通り魔 // 1966 // 監督 大島渚
「乾杯ね！何のためにしましょうか？恋愛は無償の恋だってことのために」
Violence at Noon // dir. Ôshima Nagisa
“A toast. To what? Love seeks no reward.”
俳優 佐藤慶と川口小枝 // 白昼の通り魔 // 1966 // 監督 大島渚
actors Satô Kei & Kawaguchi Saeda // Violence at Noon // dir. Ôshima Nagisa
大島渚 (Ôshima Nagisa) 1932-2013
Selected Filmography
- 青春残酷物語, 1960 (Cruel Story of Youth)
- 日本春歌考, 1967 (A Treatise on Japanese Baudy Songs / Sing a Song of Sex)
- 帰って来たヨッパライ, 1968 (Three Resurrected Drunkards)
- 絞死刑, 1968 (Death by Hanging)
- 愛のコリダー, 1975 (In the Realm of the Senses)
tomorrow at 2pm! plz come!
aquaticambience:
In Between Perceptions: Social Engagement and Transnational Interaction in Japanese Visual Culture
Sophia University Central Library, #L-821 November 4, 2:00PM – 6:00PM
Presented by the 2012 GSGS Graduate Students Workshop Series
This workshop seeks to enrich the understanding of transnationality in Contemporary Art in Japan within the context of a cultural shift towards transcending boundaries in the post-1960s era. We intend to cover a selection of works by Japanese and Japan-based artists which spans roughly 40 years. Our aim is to elicit critical voices from various art disciplines that have been increasingly engaging with matters extending beyond their cultural contexts. Socio-political upheaval in the 1960s raised continuing awareness to international issues and exposed the complicated perceptions of Japan’s neighbors and allies among various groups within the populace. Although the political fervor of the 1960s faded away over the ensuing decades, issues of nationality and artistic medium have continued to be questioned, especially by artists working in-between differing cultural contexts.
Our workshop will look at artists in four areas of Japanese contemporary art: Oshima Nagisa in cinema, Ono Yoko in public performance, Lee Ufan in painting, and Miyazawa Akio & Okada Toshiki in theatre. Each artist presented in this workshop seeks out different explications of individuality in Japan and overseas. While some artists attempt to engage with the question of the position of the individual and the nation within the domestic and international sphere, others seek to explore the body as a site of action. Rather than advocating a meta-narrative of the transnational character of these artists’ engagements, we seek to highlight the differences amongst these individuals across the forty-year period to show how Japan’s internal and external systems have changed, transforming the relationship between artists in Japan, their subject matters, and their audiences, both domestic and abroad.
SUBJECTS & SPEAKERS
Japan’s Vietnam War: 1960s Politics, Korea, and the United States in Japanese Cinema
Jack Lichten (Sophia University)
Lambs, Silence, and Transformation: Power-Dynamics of Sacrificial Economy in Marina Abramović and Yoko Ono’s Body Performances
Hiromi Saito (Sophia University)
Six Kinds of “White”: Questioning the “Koreanness” of Lee Ufan’s From Point and From Line Series
Yuriko Yamaguchi (Sophia University)
Performing “Japan” and the “Global”: Perceptions of Japanese contemporary theatre on the international stage
Michael De Schuyter (University of Tokyo)
COMMENTATORS
Go Hirasawa (Meiji Gakuin University)
Kenji Kajiya (Hiroshima City University)
MODERATOR
Michio Hayashi (Sophia University)
For more information, including detailed abstracts
In Between Perceptions: Social Engagement and Transnational Interaction in Japanese Visual Culture
Sophia University Central Library, #L-821 November 4, 2:00PM – 6:00PM
Presented by the 2012 GSGS Graduate Students Workshop Series
This workshop seeks to enrich the understanding of transnationality in Contemporary Art in Japan within the context of a cultural shift towards transcending boundaries in the post-1960s era. We intend to cover a selection of works by Japanese and Japan-based artists which spans roughly 40 years. Our aim is to elicit critical voices from various art disciplines that have been increasingly engaging with matters extending beyond their cultural contexts. Socio-political upheaval in the 1960s raised continuing awareness to international issues and exposed the complicated perceptions of Japan’s neighbors and allies among various groups within the populace. Although the political fervor of the 1960s faded away over the ensuing decades, issues of nationality and artistic medium have continued to be questioned, especially by artists working in-between differing cultural contexts.
Our workshop will look at artists in four areas of Japanese contemporary art: Oshima Nagisa in cinema, Ono Yoko in public performance, Lee Ufan in painting, and Miyazawa Akio & Okada Toshiki in theatre. Each artist presented in this workshop seeks out different explications of individuality in Japan and overseas. While some artists attempt to engage with the question of the position of the individual and the nation within the domestic and international sphere, others seek to explore the body as a site of action. Rather than advocating a meta-narrative of the transnational character of these artists’ engagements, we seek to highlight the differences amongst these individuals across the forty-year period to show how Japan’s internal and external systems have changed, transforming the relationship between artists in Japan, their subject matters, and their audiences, both domestic and abroad.
SUBJECTS & SPEAKERS
Japan’s Vietnam War: 1960s Politics, Korea, and the United States in Japanese Cinema
Jack Lichten (Sophia University)
Lambs, Silence, and Transformation: Power-Dynamics of Sacrificial Economy in Marina Abramović and Yoko Ono’s Body Performances
Hiromi Saito (Sophia University)
Six Kinds of “White”: Questioning the “Koreanness” of Lee Ufan’s From Point and From Line Series
Yuriko Yamaguchi (Sophia University)
Performing “Japan” and the “Global”: Perceptions of Japanese contemporary theatre on the international stage
Michael De Schuyter (University of Tokyo)
COMMENTATORS
Go Hirasawa (Meiji Gakuin University)
Kenji Kajiya (Hiroshima City University)
MODERATOR
Michio Hayashi (Sophia University)
For more information, including detailed abstracts
映画に入ったＲの人の写した写真 Ｒの人生とお姉さんも写した
絞死刑 // 1968 // 監督 大島渚
Photographs of R as they appear in the film, of his childhood and current life in the execution chamber, with his sister
Death by Hanging // dir. Ôshima Nagisa
"高校教師である大竹の部屋に入った中村は、ガスストーブが倒れてガス管が外れ、部屋にガスが充満していることに気づく。泥酔して眠りから覚めない大竹を見つけた中村は、部屋をそのままにして、大竹を「見殺し」にする。この「見殺し」という主題こそ『日本春歌考』において物語を駆動させる装置である。「見殺し」は、ベトナム反戦フォーク大会で在日朝鮮人の春歌を歌った金田幸子が、フォーク大会に参加している男子学生に犯される際にも繰り返される。美人優等生の藤原まゆこの主催でこの反戦フォーク大会が開かれており、中村が大竹先生の通夜に参列する間、彼の友人の男子学生三人（上田、広井、丸山）はまゆこのもとに（フォーク大会に参加するためではなく、まゆこに会うために）やってくる。三人の男子学生が空想で犯したまゆこと緊張しながら対面している間に、彼らに同行した金田は実際に犯されてしまうのである。上田たちばかりのでなく、フォーク大会に参加している人々、そしてまゆこもまた、この犯罪を見過ごし、金田を「見殺し」にする（金田は文字通り殺されたわけではないが）。そこに、中村と大竹先生の恋人高子が合流し、中村がまゆこに空想で彼女を犯したこと告げると、まゆこは自らが犯された「空想の教室」に中村たちを誘う。その教室の大きいな講義机の上で、中村はまゆこを絞殺しようとするのだが、ここでも上田たちや金田、高子はまゆこを「見殺し」にする。"
川村健一郎、『日本春歌考』の「見殺し」について日本と朝鮮とベトナムの関係、「大島渚とヴェトナム」、『映画と戦争: 撮る欲望/見る欲望』pp 310
A detail about Japanese cinema in the late 1960s and early 70s, and the degree to which it influenced (and was influenced by) the contem.porary art movements. Good times
帰って来たヨッパライ // 1968 // 監督 大島渚 // 大島の顔
「日本人ですか？」「いいえ、韓国人です。」
Three Resurrected Drunkards // dir. Ôshima Nagisa - the director’s face
“Are you Japanese?” “No, I’m Korean.”
帰って来たヨッパライ // 1968 // 監督 大島渚 // フォーク・クルセダーズの北山修、はしだのりひこ、加藤和彦
Three Resurrected Drunkards // dir. Ôshima Nagisa - The Folk Crusaders: Kitayama Osamu, Hashida Norihiko, & Katô Kazuhiko
帰って来たヨッパライ // 1968 // 監督 大島渚
ベトナム戦争からの有名な写真のように徴兵拒否した韓国人が日本警察から殺された。証人達は？ザ・フォーク・クルセダーズ！
Three Resurrected Drunkards // dir. Ôshima Nagisa
In imitation of the famous photograph, Japanese police execute (South) Koreans dodging their Vietnam War draft. The witnesses? The Folk Crusaders.