The Cinema of Takeshi Kitano: Flowering Blood negotiates a careful line towards spaces that are unfamiliar, experiencing them sensually. Whilst Redmond might be new to the cityscape at the time of his writing, his book reveals a detailed Japanese film literacy in the development of a thoughtful and convincing exploration of the director and his films. Between the lines are recognisable references to Nagisa Oshima, Laura U. Marks, Vivian Sobchack, Martin Heidegger. The multiple mode of address keeps the reader engaged by juxtaposing autobiographical revelations alongside film and cultural theory.
The Cinema of Takeshi Kitano: Flowering Blood - Sean Redmond - Google книги
The book carefully identifies, maps and explores the interconnected positions of writer, spectator and theorist in relation to the films, to the broader cultural context, to pivotal strands of film theory and to the multiple personas created by the director. One compelling thread that Redmond pursues throughout the book is the concept of the liquid.
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As he writes,. Throughout the book, Kitano is perceived according to a complex modality that identifies the filmmaker at the intersection of his work on large and small screens. Kitano is considered before and beyond his motorcycle accident as an artist and performer marked by road trauma and his near death experience. Kitano reveals that some locations in Hana-Bi were selected for the prominence of the colour blue.
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Kitano says that whilst he is not exactly sure where Horibe lives, he imagines that the audience will assume that he lives somewhere near the blue roof, a determining factor in his choice of location p. Towards the end of The Cinema of Takeshi Kitano: Flowering Blood we are offered a beautiful intersection between the author and the auteur. Standing outside of Office Kitano, Redmond dreams his reality via a Kitano-style, blue and red, violent and beautiful aesthetic.
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Published by Wallflower Press, Condition: Good Hardcover. Save for Later. Shipping: Free Within U. About this Item Ships with Tracking Number! May not contain Access Codes or Supplements. May be ex-library. Buy with confidence, excellent customer service!. Bookseller Inventory Ask Seller a Question. These cracks or leaks lead to multiplicities in the self and the self that travels, radically altering identity formation in local and national terms.
The diffusion of media products enables us in a certain sense to experience events, observe others, and, in general, learn about a world that extends beyond the sphere of our day-to-day encounters … So profound is the extent to which our sense of the world is shaped by media products that, when we travel to distant parts of the world as a visitor or tourist, our lived experience is often preceded by a set of images and expectations acquired through extended exposure to media products.
The cineaste pilgrimage from the West to the East carries its own particular register of meaning, and can be situated within a wider colonial and post-colonial history in which one travels to the East to map and define it as Other see Kaplan The cineaste pilgrim arrives having already had their expectations and visualisations set as Orientalist, in part, by the visual media. In and across adverts, videos, art works and films the chaos of India, the speed and density of Hong Kong, and the hi-tech, screen-drenched architecture of Tokyo has already been suggested, carried and cemented as a sensory signifier.
Of course, when such an arrival involves the love of, and homage to, the art text or author, the engulfment is arguably heightened. The cineaste pilgrim arrives in the East expecting, hoping and yearning for the experience that the artist and the art object previously conferred. In search of the Other, the exotic-taboo, the mysticism and aura of Eastern film art and artists, the cine pilgrim searches for authenticity and transcendence in and through an art form that is imagined or felt to be more vital or more intense than one encountered in the West.
It is as if being here in the fictional-real East will double the intensity, rebirth the individual. One can argue that this desire for the Other, for the strange, radiates out from a Western cultural centre that is lacking, and which stems from a need that is about both owning the exotic Other, and devouring or ingesting them so their energy becomes y ours. East Asian Extreme Cinema is packaged and promoted in the West as offering the viewer a transgressive, consumptive experience of the Other like no other.
This is an experience that breaks formal and thematic cinematic conventions, and tests ethical and moral positions, particularly around gore, bad taste and perversion see Hunt The cine pilgrim extends and deepens this practice and can be imagined to be little different from the sex tourist, journeying to a heart of darkness, where they are to be revitalised and renewed through ingesting Eastern extreme film.
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As Jackie Stacey suggests:. By consuming global products, the Western subject and the exotic other are thus reaffirmed even as such a dichotomy is apparently transcended by the appeal to a universal global culture. Miike Takeshi, for example, is identified in advertising as an agent-provocateur, whose insides-out horror oeuvre tests Western decency.
Takeshi Kitano, another cult Asian director, is marketed in the West as an auteur whose work straddles popularist and art cinema aesthetics and conventions. It is suggested by Western critics that Kitano shifts his position in interviews, works across many generic forms, and plays with the interviewee. Such media commentary — such branding — confirms his Otherness while legitimising his artistry so that the former is displaced. I would suggest there is light in this Eastern cineaste journeying so if I may take a moment to take up a criticism of the position just outlined.
It is recognised that culture art, goods, services, rituals, myths, people flows and folds in complex, intense and irregular patterns and connections.
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