<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body dir="auto">Dear all,<div><br></div><div>I saw the movie today at Nagoya Cinemaskhole (the theater founded by Wakamatsu himself in the 1980s). Like Markus I went in without knowing anything (well, almost), and I found myself liking and enjoying the movie more than I wanted or thought I would. Yes, the characters are overblown and caricaturish, but in the end Arata’s performance worked for me, and yes it is a very partial interpretation of an era by Shiraishi and co., but the final 15-20 minutes really resonated with me emotionally. Maybe was the location....</div><div><br></div><div>ps: I’ve also enjoyed the way the music was used and the use of old clips from Wakamatsu Pro’s films <br><br><div id="AppleMailSignature" dir="ltr"><span style="background-color: rgba(255, 255, 255, 0);">Matteo Boscarol<br></span><div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">ボスカロル マッテオ</span></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">記憶ただ陽炎のゆらめき</span></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">- Documentary in Japan and Asia</span></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);"><a href="http://storiadocgiappone.wordpress.com">http://storiadocgiappone.wordpress.com</a></span></div><div style="line-height: 24px;">- Film writer for Il Manifesto</div></div><div style="line-height: 24px;"><a href="http://ilmanifesto.it">http://ilmanifesto.it</a></div><div style="line-height: 24px;"><br></div><div style="line-height: 24px;"><br></div><div><span style="line-height: 24px; background-color: rgba(255, 255, 255, 0);"></span></div></div><div dir="ltr"><br>On Oct 7, 2018, at 8:44, Markus Nornes <<a href="mailto:nornes@umich.edu">nornes@umich.edu</a>> wrote:<br><br></div><blockquote type="cite"><div dir="ltr"><div dir="ltr"><div class="gmail_quote"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div lang="EN-US" link="blue" vlink="purple"><div class="m_-226140114009234871WordSection1"><br>
<p class="m_-226140114009234871p1"><span style="font-size:11.0pt">And, of course, while nominally there is a female protagonist at the center, the male scriptwriter and director quite honestly called the film “Tomerareru ka, Ore-tachi o”; it’s clearly an “Ore-tachi” perspective.
Of course I wasn’t at Wakamatsu Productions at the time, but having met quite a few of the people that are protagonists in the film I would be surprised if this film comes even close to showing how the gender relations “actually” played out </span></p></div></div></blockquote><div>I knew almost nothing about the film going in, so when I recognized who the main character was going to be the irony of the title haunted the film. I wonder how many Japanese spectators will feel this? Of course, from another perspective, Yoshizumi virtually had to masquerade as one of the boys to survive, so the title is perfect. </div><div><br></div><div>That the real working conditions for women weren't represented is hardly surprising. To do so, Toei would have to confront that issue in their own offices and sets.<br></div><div><br></div><div>Markus</div><div><br></div><div><br></div></div></div>
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