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In
the Realm of the Senses (Ai no Corrida)
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Nagisa
Oshima ,
Japan,
1967, 105 min.
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Nagisa Oshima's depiction of the obsessive lovemaking between
a prostitute and the husband of a brothel keeper, which leads
ultimately to the death of the man (with his own consent), is
one of the most powerful erotic films ever made, but it certainly
isn't for every taste. Based on a true story that originally made
headlines in Japan in the 30s, which turned the woman into a tragic
public heroine, the film concentrates on the sex so exclusively
that a rare period shot--the man observing a troop of soliders
marching past--registers like a brief awakenign from a long dream.
This 1976 feature is unusually straightforward for Oshima, and
those who are put off are likely to be disturbed more by the content
than by the style. The film had a French producer, Anatole Dauman,
and the French title, L'empire des sens, seems to point
directly to Roland Barthes' book about Japan, Empire of Signs--indicating
one of the reasons why this film has been fetishized by many theoretically
minded French and British critics. But even without this specialized
context, the film is unforgettable for its ritualistic (if fatalistic)
fascination with sex as a total commitment. -- Jonathan Rosenbaum
Credits: Director/writer: Nagisa Oshima, Cast: Tatsuya Fuji (Kichizo),
Eiko Matsuda (Sada Abe, Aoi Nakajima (Toku, the brothel keeper),
Yasuko Matsui (Tagawa Inn Manager).
MPAA: Not rated, contains explicit nudity and sexual themes.
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| Nagisa
Oshima, often called the greatest living Japanese director, shoots
In the Realm of the Senses from the floor with minimal camera
movements. This shot recalls the simple compositions of Japanese
master Yasujiro Ozu. |
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| Cited
as an in-your-face attack on Japanese censorship, In
the Realm of the Senses breaks the taboo in Japanese cinema
against showing female pubic hair. Freda Friedberg writes, Sada
is propositioned by an impotent old man. She responds by flaunting
her pubic hair; he desperately masturbates himself but his penis
remains limp. It is tempting to read this scene as a malicious attack
on the old guys in the government censorship offices who designated
pubic hair obscene throughout the 20th century. |
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| The
camera (and the viewer) observes Sada and Kichi as they spectate
on a sex scene. In the Realm of the Senses foregrounds the
gaze and by doing so, implicates the audience in the voyeurism of
cinema. |
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Oshima
underscores the obsessive quality of Sada and Kichi's sexual will
by showing them unperturbed by the presence of others.
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Catherine
Breillat (Romance) has cited In the Realm of the Senses
as the film that has most greatly influenced her own directing.
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Salò
or the 120 Days of Sodom
(Salò o Le 120 giornate di Sodoma)
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Pier
Paolo Pasolini, Italy, 1975, 114 min.
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A "re-reading" of the Marquis de Sade's Les 120 journées
de Sodome (120 Days of Sodom), Salò places
people and actions imagined by Sade against a background informed
by Dante and by modern history. Set in the last days of the Republic
of Salò--the northern Italian town where Mussolini
set up a short-lived "republic" after his flight from
Rome in 1943--Salò echoes the "theological verticalism"
of The Inferno as, like a descending spiral, it takes us
from one circle of horrors to the next. --Naomi Greene, Pier
Paolo Pasolini: Cinema as Heresy
Screenplay: Pasolini and Sergio Citti, based on de Sade's novel
Cast: Paolo Bonacelli (the Duke), Giorgio Cataldi (the Bishop),
Umberto Paolo Quintavalle (the Magistrate, Curval), Aldo Valletti
(Durcet), Caterina Boratto (Signora Castelli), Elsa De Giorgi (Signora
Maggi), Hélène Surgère (Signora Vaccari), Sonia
Saviange (Pianist), Ines Pellegrini, Franco Merli |
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| REQUIRED
READINGS & WEBSITES |
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| Freda
Freiberg, "The Unkindest Cut of All?...", Senses of Cinema
(Dec. 2001), course reader & online http://www.sensesofcinema.com/contents/01/12/senses.html |
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| Nagisa
Oshima, "On Trial for Obscenity (1970-1978): Between Custom and Crime:
Sex as Mediator, Theory of Experimental Pornographic Film, Text of Plea,
...", Cinema, Censorship, and the State: The Writings of Nagisa
Oshima, 1956-1978, Annette Michelson, ed; Dawn Lawson, trans. (The
MIT Press, 1992), course reader |
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| Maureen
Turim, "Ch. 4: Signs of Sexuality in Oshima's Tales of Passion",
The Films of Oshima Nagisa: Images of a Japanese Iconoclast (University
of California Press, 1998), course reader |
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| Maurizio
Viano, "Ch. 22: Salò o le 120 giornate di Sodoma", A
Certain Realism: Making Use of Pasolini's Film Theory and Practice
(University of California Press, 1993), course reader |
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| Naomi
Greene, "Ch. 6: The Many Faces of Eros (pp. 173-181, 196-217)",
Pier Paolo Pasolini: Cinema as Heresay (Princeton University Press,
1990), course reader |
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| Marcel
Hénaff, "Ch. 2: Saying Everything, or the Encyclopedia of
Excess (Inadmissibility, Obscenity, and Details; The Secret Chamber, or
How to Say the Unspeakable; The Crime of Writing, pp. 71-83)" and
"Ch. 8: Noncontractual Exchange (Torture and Debt; Habeas Corpus;
The Creditor-Executioner, pp. 239-248)", Sade: The Invention of
the Libertine Body, Xavier Callahan, trans. (University of Minnesota
Press, 1999), course reader |
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| "Pasolini
on de Sade", Interview with Gideon Bachman, Film Quarterly Vol.
29, No. 2 (Winter 1975-76), course reader |
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Rebecca
Huntley, "Censuring Salo: the unbanning of Pier Paolo Pasolini's
Salo", online
http://libertus.net/censor/odocs/huntley_salo.html |
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British
Film Institute, "Salò or the 120 Days of Sodom", online
http://www.bfi.org.uk/features/salo/ |
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| SUGGESTED
READINGS & WEBSITES |
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| George
Batille, Story of the Eye, Joachim Neugroschel, trans. (San Francisco:
City Lights Books, 1987); Originally published in France in 1928 as Histoire
de l'oeil. |
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| Marquis
de Sade, Salò
or the 120 Days of Sodom |
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Tina
Kaufman, "It Can Happen Again: Censorship [Australia]", Senses
of Cinema (Apr 2000), online
http://www.sensesofcinema.com/contents/00/4/censorship.html |
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| Beverly
Allen, ed., The Poetics of Heresy (Saratoga, Calif.: Anma Libri,
1982). |
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Alberto
Pezzotta, "Salò:
15 years of vision", Senses
of Cinema (Nov 2000), online
http://www.sensesofcinema.com/contents/00/11/salo.html |