60s Nagisa Oshima
Watching some early Nagisa Oshima films at the moment, this post will be edited and I will develop a bit more. Those films associate psycho-sexual study and sharp political,social commentary.
Diary of a Shinjuku Thief (1968) shot in black and white but sometimes switched in colours, is a more experimental film. It uses several literary references and adds brief images of political events and uprisings of the time and contains lots of dialogues and and analysist talks (a bit too much for my taste though). Mostly shot in hand-held camera, especially for the outside scenes, the film seems to leave a certain improvisation and an influence of JL Godard. An avant-garde kabuki theatre troup, Juro Karo Situation Players, takes part also in the film (especially towards the end).
Sing a Song of Sex (1967) presenting also the typical Japanese New wave aesthetics, loaded of sexual connotations and political references, the film shows a group of disillusioned students drifting away, mixing reality and fantasy and getting along with songs, which some are funny and ligh songs, some much more melancholy.
Violence at High Noon (1966) in an overexposed black and white and a beautiful cinematography with many close-ups, the film involves mainly three characters and presents a non-linear narrative structure with many flashbacks, the film combines desire, passions, violence and death from different points of view.
Diary of a Shinjuku Thief (1968) shot in black and white but sometimes switched in colours, is a more experimental film. It uses several literary references and adds brief images of political events and uprisings of the time and contains lots of dialogues and and analysist talks (a bit too much for my taste though). Mostly shot in hand-held camera, especially for the outside scenes, the film seems to leave a certain improvisation and an influence of JL Godard. An avant-garde kabuki theatre troup, Juro Karo Situation Players, takes part also in the film (especially towards the end).
Sing a Song of Sex (1967) presenting also the typical Japanese New wave aesthetics, loaded of sexual connotations and political references, the film shows a group of disillusioned students drifting away, mixing reality and fantasy and getting along with songs, which some are funny and ligh songs, some much more melancholy.
Violence at High Noon (1966) in an overexposed black and white and a beautiful cinematography with many close-ups, the film involves mainly three characters and presents a non-linear narrative structure with many flashbacks, the film combines desire, passions, violence and death from different points of view.
Labels: Notes on Films
posted by Ouyang Feng at 1:24 pm
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