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Dear KineJapanners,
<p>I recently finished an MA in Japanese studies at SOAS,University of
London. I am interested in Japanese film from the 50s to 70s.
<p>My theses examined Imamuras's cinema as a "Nativist Carnival". Imamura's
declared concerns, as well his films, owe much to Yanagita Kunio
.. I also suggested that his work has a markedly carnivalesque
aspect, which while positing an rather attractive and
alternative Japanese identity , also reflects, at psycological level ,
repression and projection in the Japanese, middle class male psyche. Its
a bit more complicated than that but there you go!
<p>Obviously , I am dying to have a look at Akai Hashi no Shita
no Nurui Mizu but I am in Hiroshima and probably won't get a chance
to see it for quite some time!
<br>
<p>Ando Tadao suggested that Imamura's women somehow represented the Japanese
working classes. In many films she represents Japan herself and her conflict
with modernity. In my opinion, women are central to all of Imamura 's films
but he never offers fully rounded female characters. They are generally
archetypes or stereotypes. Mothers and sexual predators.The feminine
or female is always mediated by male fantasy in his work , and he is not
exceptional in this. There is also a strong sense of returning to the womb/
old Japan in his films.
<p>Those who have seen Ei Ja Nai Ka? will remember Momoi Kaori as
Ine hitching up her skirt and urinating to the delight of the dancing mob.
Imamuras's films have always been about the lower half of the body. Rude,
sexual and often silly. I don't think we should be surprised or disappointed
by his latest theme.
<br>
<p>On a different note, I would love to know which contemporary Japanese
films are most highly regarded by the KineJapan newsgroup. For the past
year I have been renting and buying films only to be disappointed again
and again. If you feel inclined please mail me personally. I would appreciate
your guidance and advice.
<br>
<p>Best wishes
<p>Marc Williams</html>