oshima's nihon shunkako

[Michael Raine]

Ah! I'd should have remembered that . kudos to Maureen Turim. I was struck
by the language when I put together subtitles for a class screening (major
credit to Yuki Takinami) and thought I'd made a "discovery" when I found the
same language in Hara Masato's tenebrous discussion of Nizan in his
"Fukeiron chobo". Young Hara mentions the film as an illustration of how
Oshima's generation doesn't get Nizan's foundationless multidimensionality.
But I think Oshima's use is as ironic as the military songs (not to mention
the "shunka") in the film. It's a great example of the intimate relation of
60's absolutism to its opposite: the war on alienation seems as impossible
as the war on terror. 

 

I think that article, by the way, is one of the most important contributions
to the brief flourishing of "landscape theory" that's been revived recently.
Interesting that Hara finds such inspiration in Nizan. He disagrees with
Matsuda and Adachi, of course, and explicitly with the idea that fukeiron
should be understood as "diagrammatic" (at least in the ordinary sense). I'm
still not sure what (or whether) fukeiron means: "fukei is the view opened
out by the gaze when it produces an origin within a provisional structure
and takes on that provisional structurality" . but if anyone's interested in
late 60s cinema it's probably a good place to look. 

 

Michael

 

Michael Raine

Assistant Professor in Japanese Cinema

The University of Chicago

mjraine at uchicago.edu

 

From: Mathieu Capel [mailto:mathieucapel at gmail.com] 
Sent: Wednesday, December 31, 2008 4:49 AM
To: KineJapan at lists.acs.ohio-state.edu
Subject: Re: oshima's nihon shunkako

 

Dear Kinejapaners,

Well, I should have checked Maureen Turim's study first, before bothering
the members of this list with that question : in the gunka vs. shunka scene,
Otake sensei actually quotes from Paul Nizan's Aden arabie.
Thanks anyway to Pr. Turim for being such a reliable scholar !
Happy new year once again,

Mathieu Capel
Paris

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