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Fury and the Landscape Film: Three Men Who Left Their Will on Concrete
ARTMargins Pub Date : 2021-02-01 , DOI: 10.1162/artm_a_00283
Julia Alekseyeva

Abstract In the 1960s, Japanese artists and filmmakers directed their fury against the sterile urban landscapes which surrounded them. The “Theory of Landscape,” developed by Matsuda Masao as well as many other filmmakers, artists, and writers, posited that our lived landscape is an expression of dominant political power. This article uses the lens of Landscape Theory to analyze three Japanese political avant-garde films from the late 1960s and early 1970s, all of which mark frustration and anger through a reworking of the mundane urban environment that surrounds them: Wakamatsu Koji’s Go, Go Second Time Virgin (1969), Oshima Nagisa’s The Man Who Left His Will on Film (1970), and Terayama Shuji’s Throw Away Your Books, Rally in the Streets (1971). These three films, whose narratives are fundamentally integrated with the discourse of Landscape Theory, use forms of violence to create gaps and fissures within the coldly modernized Tokyo landscape. While the forms of violence they use might differ, Wakamatsu, Oshima, and Terayama’s films critique and interrupt their cityscape, rendering the violence inherent in its concrete walls and buildings explicit.

中文翻译:

狂怒与风景电影:三个将意志留在混凝土上的人

摘要 在 1960 年代,日本艺术家和电影制作人将他们的愤怒指向了他们周围贫瘠的城市景观。Matsuda Masao 以及许多其他电影制作人、艺术家和作家开发的“景观理论”假设我们生活的景观是主导政治权力的表达。本文使用景观理论的视角分析了 1960 年代末和 1970 年代初的三部日本政治前卫电影,所有这些电影都通过对周围平凡的城市环境的改造来表现沮丧和愤怒:若松浩二的《Go, Go Second》时间处女(1969)、大岛渚的电影留下遗嘱的人(1970)和寺山修二的扔掉你的书,街头集会(1971)。这三部电影,他们的叙述从根本上与景观理论的话语融为一体,使用暴力形式在冷冷的现代化东京景观中创造出缝隙和裂缝。虽然他们使用的暴力形式可能不同,但若松、大岛和寺山的电影批评并打断了他们的城市景观,将混凝土墙和建筑物中固有的暴力表现得淋漓尽致。
更新日期:2021-02-01
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