Nagisa Ōshima

Template:Short description Template:Use mdy dates Template:Infobox person Template:Nihongo was a Japanese filmmaker, writer, and left-wing activist who is best known for his fiction films, of which he directed 23 features in a career spanning from 1959 to 1999.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> He is regarded as one of the greatest Japanese directors of all time, and as one of the most important figures of the Japanese New Wave (Nūberu bāgu), alongside Shōhei Imamura. His film style was bold, innovative and provocative. Common themes in his work include youthful rebellion, class and racial discrimination and taboo sexuality.

His first major film was his second feature, Cruel Story of Youth (1960),<ref>Template:Cite web</ref> one of the first Japanese New Wave films, a youth-oriented film with an earnest portrayal of the sexual lives and criminal activities of its young protagonists. And he came to greater international renown after Death By Hanging (1968), a film on the theme of capital punishment and anti-Korean sentiment, was shown at the Cannes Film Festival in 1968.<ref>Template:Cite book</ref> His most controversial film is In the Realm of the Senses (1976), a sexually explicit film set in 1930s Japan.

Profile

Early life

Nagisa Ōshima was born into a family of aristocratic samurai roots. His father was a government official who had a large library. Ōshima spent very little time with his father, who died when he was six, which left a deep mark on him. Ōshima would point to this as the most important event of his childhood in his 1992 essay My Father's Non-existence: A Determining Factor in My Existence.<ref>Template:Cite book</ref> After graduating from Kyoto University in 1954, where he studied political history,<ref name="bergen-guardian"/> Ōshima was hired by film production company Shochiku Ltd. and quickly progressed to directing his own movies, making his debut feature A Town of Love and Hope in 1959.

During the 1960s

Oshima in 1962

Ōshima's cinematic career and influence developed very swiftly,<ref>Template:Harvnb</ref> and such films as Cruel Story of Youth, The Sun's Burial and Night and Fog in Japan followed in 1960. The last of these 1960 films explored Ōshima's disillusionment with the traditional political left, and his frustrations with the right, and Shochiku withdrew the film from circulation after less than a week, claiming that, following the recent assassination of the Socialist Party leader Inejiro Asanuma by the ultranationalist Otoya Yamaguchi, there was a risk of "unrest". Ōshima left the studio in response, and launched his own independent production company. Despite the controversy, Night and Fog in Japan placed tenth in that year's Kinema JumpoTemplate:'s best-films poll of Japanese critics, and it has subsequently amassed considerable acclaim abroad.<ref name="Bock, Audie pp 333">Template:Harvnb</ref>

In 1961 Ōshima directed The Catch, based on a novella by Kenzaburō Ōe about the relationship between a wartime Japanese village and a captured African American serviceman. The Catch has not traditionally been viewed as one of Ōshima’s major works, though it did notably introduce a thematic exploration of bigotry and xenophobia, themes which would be explored in greater depth in the later documentary Diary of Yunbogi, and feature films Death by Hanging and Three Resurrected Drunkards.<ref>Template:Harvnb</ref> He embarked upon a period of work in television, producing a series of documentaries; notably among them 1965's Diary Of Yunbogi. Based upon an examination of the lives of street children in Seoul, it was made by Ōshima after a trip to South Korea.<ref name="Bock, Audie pp 333"/><ref>Template:Harvnb</ref>

Ōshima directed three features in 1968. The first of these, Death by Hanging (1968), presented the story of the failed execution of a young Korean for rape and murder, and was loosely based upon an actual crime and execution which had taken place in 1958.<ref>Template:Cite book</ref> The film utilizes non-realistic "distancing" techniques after the fashion of Bertold Brecht or Jean-Luc Godard to examine Japan's record of racial discrimination against its Korean minority, incorporating elements of farce and political satire, and a number of visual techniques associated with the cinematic new wave in a densely layered narrative. It was placed third in Kinema JumpoTemplate:'s 1968 poll, and has also garnered significant attention globally.<ref>Template:Harvnb</ref> Death By Hanging inaugurated a string of films (continuing through 1976's In the Realm of the Senses) that clarified a number of Ōshima's key themes, most notably a need to question social constraints, and to similarly deconstruct received political doctrines.<ref>Template:Cite book</ref>

Months later, Diary of a Shinjuku Thief unites a number of Ōshima's thematic concerns within a dense, collage-style presentation. Featuring a title which alludes to Jean Genet's The Thief's Journal, the film explores the links between sexual and political radicalism,<ref>Template:Harvnb</ref> specifically examining the day-to-day life of a would-be radical whose sexual desires take the form of kleptomania. The fragmented narrative is interrupted by commentators, including Kara Jūrō's underground performance troupe, starring Kara Jūrō, his then wife Ri Reisen, and Maro Akaji (who would go on to lead the butoh troupe Dairakudakan). Yokoo Tadanori, an artist who created many of the iconic theatre posters during the 1960s and '70s, plays the thief, who gets a bit part in Kara's performance. The film also features a psychoanalyst, the president of Kinokuniya Bookstore in Shinjuku, and an impromptu symposium featuring actors from previous Ōshima films (along with Ōshima himself), all dissecting varied aspects of shifting sexual politics, as embodied by various characters within the film.

Boy (1969), based on another real-life case, was the story of a family who use their child to make money by deliberately getting involved in road accidents and making the drivers pay compensation.

1970s career

The Ceremony (1971) is a satirical film on traditional Japanese attitudes, famously expressed in a scene where a marriage ceremony has to go ahead even though the bride is not present.

In 1976, Ōshima made In the Realm of the Senses, a film based on a true story of fatal sexual obsession in 1930s Japan. Ōshima, a critic of censorship and his contemporary Akira Kurosawa's humanism, was determined that the film should feature unsimulated sex and thus the undeveloped film had to be transported to France to be processed. An uncensored version of the movie is still unavailable in Japan. A book with stills and script notes from the film was published by San’ichishobo, and in 1976 the Japanese government brought obscenity charges against Ōshima and San’ichishobo.<ref name=Alexander> Alexander, James R., Obscenity, Pornography, and Law in Japan: Reconsidering Oshima's 'In the Realm of the Senses' (April 17, 2012). Asian-Pacific Law & Policy Journal, vol. 4 (winter 2003), pp. 148-168., Available at SSRN: https://ssrn.com/abstract=2041314 </ref> Ōshima testified in the trial and said. "Nothing that is expressed is obscene. What is obscene is what is hidden."<ref>Template:Cite news</ref> Ōshima and the publisher were found not guilty in 1979; the government appealed and the Tokyo High Court upheld the verdict in 1982.<ref name=Alexander/>

In his 1978 companion film to In the Realm of the Senses, Empire of Passion, Ōshima took a more restrained approach to depicting the sexual passions of the two lovers driven to murder, and the film won the 1978 Cannes Film Festival award for best director.<ref name="festival-cannes.com">Template:Cite web</ref><ref>Template:Cite news</ref>

1980s onwards

In 1983 Ōshima had a critical success with Merry Christmas, Mr. Lawrence, a film partly in English and set in a wartime Japanese prison camp, and featuring rock star David Bowie and musician Ryuichi Sakamoto, alongside Takeshi Kitano. The movie is sometimes viewed as a minor classic but never found a mainstream audience.<ref>Template:Cite web</ref> Template:Langlink (1986), written with Luis Buñuel's frequent collaborator Jean-Claude Carrière, was a comedy about a diplomat's wife (Charlotte Rampling) whose love affair with a chimpanzee is quietly incorporated into an eminently civilised ménage à trois.

For much of the 1980s and 1990s, he served as president of the Directors Guild of Japan.<ref name="Nenpyo">Template:Cite web</ref> He won the inaugural Directors Guild of Japan New Directors Award in 1960.<ref name="DGJ1">Template:Cite web</ref>

A collection of Ōshima's essays and articles was published in English in 1993 as Cinema, Censorship and the State.<ref>Template:Harvnb</ref> In 1995 he wrote and directed the archival documentary '100 Years of Japanese Cinema' for the British Film Institute.<ref>Template:Cite web</ref> A critical study by Maureen Turim appeared in 1998.<ref>Template:Harvnb</ref>

In 1996 Ōshima suffered a stroke, but he recovered enough to return to directing in 1999 with the samurai film Taboo (Gohatto), set during the bakumatsu era and starring Merry Christmas, Mr. Lawrence actor Takeshi Kitano. Ryuichi Sakamoto, who had both acted in and composed for Lawrence, provided the score.

He subsequently suffered more strokes, and Gohatto proved to be his final film. Ōshima had initially planned to create a biopic entitled Hollywood Zen based on the life of Issei actor Sessue Hayakawa. The script had been allegedly completed and set to film in Los Angeles, but due to constant delays, declining health, and Ōshima's eventual death in 2013 (see below), the project went unrealized.<ref>Template:Cite web</ref><ref>Archived at GhostarchiveTemplate:Cbignore and the Wayback MachineTemplate:Cbignore: Template:Cite webTemplate:Cbignore</ref>

Having a degree of fluency in English, in the 2000s, Ōshima worked as a translator. He translated four books by John Gray into Japanese, including Men Are from Mars, Women Are from Venus.

Ōshima died on January 15, 2013, of pneumonia. He was 80.<ref name="bergen-guardian">Template:Cite news</ref>

The 2013 edition of the San Sebastian Film Festival scheduled a retrospective of Ōshima films in September.<ref name="SanSebastian">Template:Cite web</ref>

Style

Nagisa Oshima was known for the protean nature of his work. From one film to the next, he would frequently shuffle between black-and-white and color, between academy ratio and widescreen, between long takes and fragmented cutting, and between formally composed images and a cinéma vérité style.<ref name=":0" />

In multiple interviews, Oshima has named Luis Buñuel as a director he profoundly admires.<ref name=":0">Template:Cite web</ref> The influence of Buñuel's work can be seen as early as in The Sun's Burial (1960), which was possibly inspired by Los Olvidados, and as late as in Template:Langlink (1986), for which Oshima worked with Jean-Claude Carrière, a frequent collaborator of Buñuel's.<ref>Template:Cite web</ref>

Filmography

Films

Year	English title	Japanese title	Romaji	Notes
1959	Tomorrow's Sun	明日の太陽	Ashita no Taiyō	Short (7 min), color.<ref>Template:Cite web</ref>
	A Town of Love and Hope	愛と希望の街	Ai to Kibō no Machi	62 min, B&W.
1960	Cruel Story of Youth	青春残酷物語	Seishun Zankoku Monogatari	96 min, color.
	The Sun's Burial	太陽の墓場	Taiyō no Hakaba	87 min, color.
	Night and Fog in Japan	日本の夜と霧	Nihon no Yoru to Kiri	107 min, color.
1961	The Catch	飼育	Shiiku	105 min, B&W.
1962	The Rebel	天草四郎時貞	Amakusa Shirō Tokisada	101 min, B&W.
1965	The Pleasures of the Flesh	悦楽	Etsuraku	90 min, color.
	Yunbogi's Diary	ユンボギの日記	Yunbogi no Nikki	(Short)
1966	Violence at Noon	白昼の通り魔	Hakuchū no tōrima	99 min, B&W.
1967	Tales of the Ninja (Band of Ninja)	忍者武芸帳	Ninja Bugei-Chō	123 min, B&W.
	Sing a Song of Sex	日本春歌考	Nihon Shunka-Kō	103 min, color.
	Double Suicide: Japanese Summer	無理心中日本の夏	Muri Shinjū: Nihon no Natsu	98 min, B&W.
1968	Death by Hanging	絞死刑	Kōshikē	118 min, B&W.
	Three Resurrected Drunkards	帰って来たヨッパライ	Kaette Kita Yopparai	80 min, color.
1969	Diary of a Shinjuku Thief	新宿泥棒日記	Shinjuku Dorobō Nikki	96 min, B&W.
	Boy	少年	Shōnen	97 min, color.
1970	The Man Who Left His Will on Film	東京戰争戦後秘話	Tōkyō Sensō Sengo Hiwa	94 min, B&W.
1971	The Ceremony	儀式	Gishiki	123 min, color.
1972	Dear Summer Sister	夏の妹	Natsu no Imōto	96 min, color.
1976	In the Realm of the Senses	愛のコリーダ	Ai no Korīda	108 min, color.
1978	Empire of Passion	愛の亡霊	Ai no Bōrē	108 min, color.
1983	Merry Christmas, Mr. Lawrence	Template:Lang	Template:Lang	123 min, color.
1986	Template:Langlink	Template:Lang	Template:Lang	97 min, color.
1999	Taboo	御法度	Gohatto	100 min, color.

Television

Year	Original title	English title	Notes
1962	Kōri no Naka no Seishun	Youth on the Ice	25 min
1963	Wasurerareta Kōgun	Forgotten Soldiers	25 min
1963	Chiisana Bōken Ryokō	A Small Child's First Adventure	60 min
1964	Watashi wa Beretto	It's Me Here, Bellett	60 min
1964	Seishun no Ishibumi	The Tomb of Youth	40 min
1964	Hankotsu no Toride	A Rebel's Fortress	25 min
1964	Gimei Shōjo	The Girl Under an Assumed Name	30 min
1964	Chita Niseigo Taiheiyō Ōdan	Crossing the Pacific on the Chita Niseigo	2 x 30 min
1964	Aru Kokutetsu-Jōmuin	A National Railway Worker	25 min
1964	Aogeba Tōtoshi	Ode to an Old Teacher
1964	Aisurebakoso	Why I Love You
1964	Ajia no Akebono	The Dawn of Asia	13 x 60 min
1965	Gyosen Sonansu	The Trawler Incident	30 min
1968	Daitōa Sensō	The Pacific War (The Greater East Asian War)	2 x 30 min
1969	Mō-Takutō to Bunka Daikakumē	Mao and the Cultural Revolution	49 min
1972	Kyojin-Gun	Giants	73 min
1972	Joi! Bangla		24 min
1972	Goze: Mōmoku no Onna-Tabigēnin	The Journey of the Blind Musicians
1973	Bengal no Chichi Laman	The Father of Bangladesh
1975	Ikiteiru Nihonkai-Kaisen	The Battle of Tsushima	50 min
1976	Ikiteiru Gyokusai no Shima	The Isle of the Final Battle	25 min
1976	Ōgon no Daichi Bengal	The Golden Land of Bengal
1976	Ikiteiru Umi no Bohyō	The Sunken Tomb
1976	Denki Mō-Takutō	The Life of Mao
1977	Yokoi Shōichi: Guamu-to 28 Nen no Nazo o Ou	Human Drama: 28 Years of Hiding in the Jungle	49 min
1977	Shisha wa Itsumademo Wakai	The Dead Remain Young	49 min
1991	Kyōto, My Mother's Place
1994	100 Years of Japanese Cinema		60min

Film theorists

Film scholars who have focused on the work of Ōshima include Isolde Standish, a film theorist specializing in East Asia.<ref>Template:Cite web</ref> She teaches courses on Ōshima at the School of Oriental and African Studies in London and wrote extensively on him as for example:

• Politics, Porn and Protest: Japanese Avant-Garde Cinema in the 1960s and 1970s. New York: Continuum Int. Publishing Group.<ref>Template:Cite book</ref>
• 'Transgression and the Politics of Porn. Ōshima Nagisa's In the Realm of the Senses (1976)'. In: Phillips, A. and Stringer, J., (eds.), Japanese Cinema: Texts and Contexts. Abingdon: Routledge, pp 217-228).<ref>Template:Cite web</ref>

Writings

• Pasolini Renaissance, Template:ISBN

Translations

• "Ai ga Fukamaru Hon - "Honto no Yorokobi" o shiru tame ni" (translation of "Making Heart-to-Heart Love in Bed" by John Gray) Template:ISBN
• ベスト・パートナーになるために―男と女が知っておくべき「分かち愛」のルール 男は火星から、女は金星からやってきた (translation of "Men Are from Mars, Women Are from Venus" by John Gray) Template:ISBN

Notes

References

• Template:Turim-oshima
• Template:Audie-bock-directors
• Template:Cite book

External links

• OSHIMA PRODUCTIONS LTD
• Template:IMDb name
• Profile at Japan Zone
• Template:Cite journal