Eiga hihyô

Mathieu Capel mathieucapel
Sun Sep 21 05:04:51 EDT 2008

Dear Kinejapaners,

I just read a 1968 debate between Oshima and Matsumoto ("Wareware ha
machigatteitar? ka", in the last Eiga hy?ron compilation) focusing on
the issue of "movement" (artistic, political, etc.) and its
application to the evolutions of the japanese cinematographic world in
the 60's.  As you may know, by that time those two people were not
friends anymore : S?z?sha, including at the time such people as Adachi
Masao or Matsuda Masao, was (Oshima dixit) on the path of an internal
Maoist "Cultural revolution", while Matsumoto was attacked by leftists
for his participation to selection comitees and the approaching Osaka

I would like to ask two questions about this topic :

First, does someone knows what were the origins of the opposition
between Oshima and Matsumoto ? I am not talking just about rivalry,
but about something like real contempt, as one can read in texts
Oshima wrote about 1967. Was that coming in the wake of the 1966
controversy between Matsumoto and Ishid? Toshir?, one of Oshima's
closest collaborators, or can we trace it before ?

Second, in the debate I just refered to, Oshima asserts that an
artistic or political movement can/must not be based on "impersonal
relationships", i.e. that he strongly refuses the idea of a "global
popular artistic movement", as he would sure refuse the definition of
Japanese new wave as a "movement", as described by David Desser in his
Eros+Massacre essay (in a way that seems close to Matsumoto's
Actually, besides "small gauge" movements, like S?z?sha and other
independant production units, the only "wide" examples Oshima
acknowledges are to be found in "the second half of Eiga hihy? and the
first half of Kiroku Eiga".
Thanks to Mark Nornes' Forest pressure, I have been able to know more
about Kiroku eiga, but could someone tell me where I could find more
informations about Eiga hihy? ?

Many thanks,

Mathieu Capel

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