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Banned & Censored Cinema


Nagisa Oshima & Pier Paolo Pasolini

In the Realm of the Senses (Ai no Corrida)
Nagisa Oshima , Japan, 1967, 105 min.


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 Based on a true story that originally made headlines in Japan in the 30s, which turned the woman into a tragic public heroine, the film concentrates on the sex so exclusively that a rare period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.





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.
 
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.”
 
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.
 
Oshima underscores the obsessive quality of Sada and Kichi's sexual will by showing them unperturbed by the presence of others.

 
Catherine Breillat (Romance) has cited In the Realm of the Senses as the film that has most greatly influenced her own directing.



Salò or the 120 Days of Sodom
(Salò o Le 120 giornate di Sodoma)
Pier Paolo Pasolini, Italy, 1975, 114 min.

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


The libertines hold a contest among the captives for the most desirable ass.


REQUIRED READINGS & WEBSITES
 
• Freda Freiberg, "The Unkindest Cut of All?...", Senses of Cinema (Dec. 2001), course reader & online http://www.sensesofcinema.com/contents/01/12/senses.html
 
• 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
 
• 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
 
• 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
 
• 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
 
• 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
 
• "Pasolini on de Sade", Interview with Gideon Bachman, Film Quarterly Vol. 29, No. 2 (Winter 1975-76), course reader
 
• Rebecca Huntley, "Censuring Salo: the unbanning of Pier Paolo Pasolini's Salo", online
http://libertus.net/censor/odocs/huntley_salo.html
 
• British Film Institute, "Salò or the 120 Days of Sodom", online
http://www.bfi.org.uk/features/salo/
 
 
SUGGESTED READINGS & WEBSITES
 
• 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.
 
• Marquis de Sade, Salò or the 120 Days of Sodom
 
• Tina Kaufman, "It Can Happen Again: Censorship [Australia]", Senses of Cinema (Apr 2000), online
http://www.sensesofcinema.com/contents/00/4/censorship.html
 
• Beverly Allen, ed., The Poetics of Heresy (Saratoga, Calif.: Anma Libri, 1982).
 
• Alberto Pezzotta, "Salò: 15 years of vision", Senses of Cinema (Nov 2000), online
http://www.sensesofcinema.com/contents/00/11/salo.html