Representations of intoxication

[Roger Macy]

Hi Christiane,
This seems to have:
- altered state of consciousness
- imbibing of an invented substance (which just happens to have national and religious signification)
- total confusion of exterior and interior.

The only objection would seem to be that the cinematic representation is entirely internal.
http://video.aol.co.uk/video-detail/japans-first-lady-miyuki-hatoyama-english-interview-eats-the-sun-tom-cruise-aliens-venus/1743291847
and
http://www.guardian.co.uk/world/2009/sep/03/miyuki-hatoyama-japan
or was this what sparked you off ?
best,
Roger
  ----- Original Message ----- 
  From: Christiane Borchert 
  To: KineJapan at lists.acs.ohio-state.edu 
  Sent: Wednesday, July 01, 2009 3:35 PM
  Subject: AW: Self introduction + Representations of intoxication 


  Hello again,

  thanks for your thoughts Roger. (Always nice to 'meet' you again.)

  I'm afraid I should have been more precise when asking you about intoxication. Sorry about that. I'm mainly interested in the representation of the altered state of consciousness because of intoxication (by drugs, alcohol or any invented substance) or the cinematic excess, for example, when intoxication is used to reflect on the medium's materiality ... That's why I'm interested in scenes that entangle exterior and interior in some way and go beyond showing someone who is drunk or high. 


  Best regards,
  Christiane   







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  Von: owner-KineJapan at lists.acs.ohio-state.edu [mailto:owner-KineJapan at lists.acs.ohio-state.edu] Im Auftrag von Roger Macy
  Gesendet: Mittwoch, 1. Juli 2009 10:04
  An: KineJapan at lists.acs.ohio-state.edu
  Betreff: Re: Self introduction + Representations of intoxication 


  Hi, Christiane,
  Narrow world again!
  I'm sure they'll be more than a few examples of intoxication, but here's what comes to mind immediately:-
  Naruse's Bangiku, 1954;
  The Nakadai character in Harada's Jubaku, 1999;
  They're defintely high on something in Matsumoto's Barano sōretsu, 1969
  Ichikawa brings on the drunks, but he makes quite a point of conveying Kōda Rohan as a drinker in Otōto;
  Imamura also, but there's a definite intoxiction in Ējanaika;
  Kawamoto's Hana-ori, 1968;
  Kurosawa's Yoidore tenshi, 1949;
  Ogawa pro's Dokkoi!- Ningen bushi –kotobuki, 1975 also has a negative take;
  Uchida's Koi ya Koi Nasuna Koi, 1962 is brilliant on the intoxication of love (but has anyone ever done it without tragedy?);
  and two in your Nippon Connection, last year got legless:
  Hirayama's Shaberedomo, shaberedomo, 2007
  and at last, for better or worse, an intoxicated woman in Kumakiri's Non-ko, 2008
  best,
  Roger



    ----- Original Message ----- 
    From: Christiane Borchert 
    To: KineJapan at lists.acs.ohio-state.edu 
    Sent: Tuesday, June 30, 2009 11:09 PM
    Subject: Self introduction + Representations of intoxication 


    Hello everyone,

    after I have been on this mailing list incognito for quite some time, I think it's time for me to finally introduce myself:  

    Name: Christiane Borchert
    Institutional affiliation or job: Programmer for film and cultural sections (Nippon Connection. Japanese Film Festival, Frankfurt am Main); research assistant (Department of Film Studies, Johannes Gutenberg-University, Mainz)
    City and country: Frankfurt am Main/ Mainz, Germany

    Research projects or publications: Master's thesis on the dissolution of boundaries in the Boys' Love phenomenon (at an early stage)  
    Interests with regard to Japanese film and moving image media: Japanese film and ~ popular culture, ~ Queer Studies, ~ corporeality, ~ transnational flows, ~ media convergence, ~ trauma, film festival research and otaku culture


    First of all, thank you all for your insightful discussions, your notes on events, publications and films on this list! Your contributions have been pretty inspiring and motivating for me. Hence, I wondered whether you could inspire me once again:   

    At present I am working on a paper and am looking for films containing representations of intoxication (or/ and drunkenness). I am especially interested in sequences in which external and internal perspectives are entangled. The only examples that I know are KAKUTO by ISEYA Yusuke and DAYDREAM by TAKECHI Tetsuji. I would really appreciate if you could help me out with some further examples. 


    Best regards and many thanks in advance,

    Christiane 
    (christiane86 at freenet.de)     
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