The Cinema of Takeshi Kitano: Flowering Blood (Directors' Cuts)

The Cinema of Takeshi Kitano: Flowering Blood (Directors' Cuts)

Sean Redmond

Language: English

Pages: 256

ISBN: 0231163339

Format: PDF / Kindle (mobi) / ePub


The Cinema of Takeshi Kitano: Flowering Blood is a detailed aesthetic, Deleuzian, and phenomenological exploration of Japan's finest currently-working film director, performer, and celebrity. The volume uniquely explores Kitano's oeuvre through the tropes of stillness and movement, becoming animal, melancholy and loss, intensity, schizophrenia, and radical alterity; and through the aesthetic temperatures of color, light, camera movement, performance and urban and oceanic space. In this highly original monograph, all of Kitano's films are given due consideration, including A Scene at the Sea (1991), Sonatine (1993), Dolls (2002), and Outrage (2010).

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experts – consume the text, the textmaker, the actor-star, again and again, stop after stop, in a ghostly, in situ, reverberating inter and extra-textual relay. Through this cineaste journeying questions about self-identity and belonging emerge. The cineaste pilgrim is a searcher, pleasure-seeker, hobbyist, cultist, escapee, dreamer, diarist, writer or fanatic, fleeing from self, culture and society while simultaneously looking to embrace the freedom of the experience they encounter. The cineaste

melodrama and pornography – clearly lend itself to this reading. However, by extending the definition of body genre to include those films that are centred on the body-withoutorgans where the chaos of sensation takes one beyond language, in the utilisation of one’s entire body and mind, one can relocate the taxonomy to Kitano’s oeuvre and his recurring concern with the body becoming. In the Kitano film, the degradation of the body and the pathetic response it induces, touches everyone,

nowhere and to no mind, as if they are on a journey to the place where the land meets the sea. According to Donald Richie, genre convention has it that it is the fate of the yakuza hero to live and die in a closed space (1972: 33). In a Kitano yakuza film, by contrast, his anti-hero’s fate is often sealed outside, in the sunshine, down by the beach, at the water’s edge. They face death, see it coming, and welcome it in fact with a sincere, maybe even optimistic resignation. A character will blow

something happening this instant, or if I am caught in another character’s subjective awakening. I am in an any-space-whatever, in the intensity of a time image, a body without organs. I walk towards the door, although this is not filmed, the camera having remained on the spot I have just vacated, the pain of the image staining the lens red-blue. I enter Office Kitano. I enter Office Kitano. I dream I enter Office Kitano… In this book-length study of Takeshi Kitano I have examined his authorship

character, Ôtomo, follows to the letter the orders of his yakuza fathers, not realising they are using him as a pawn in their game to achieve greater success. Ôtomo demonstrates the qualities of what David Desser (1983) has referred to as giri (obligation and responsibility) and jingi (the code of honour) over and above ninjo (personal inclination) – although this is still a minor source of conflict for him in the film. By contrast, his yakuza fathers demonstrate ninjo above all else and are

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