Sex and Violence as Subversive Action Oshima Nagisa Sex and Violence as Subversive Action

The Post-war Japanese Film Industry Founded in 1912 One of the oldest production companies. After the dormant period, it resumed production in 1954; it recruited directors from other studios - Imamura Shohei and Suzuki Seijun.

A successful genre, Nikkatsu Action Eiga - action movies for the male audience. After the popularity of cinema declined in the 60s, it successfully turned to the production of soft-porn films, Nikkatsu Roman Porno, with relatively high-budget and production values.

The Post-war Japanese Film Industry Founded in 1920 One of the most successful and reliable companies through the 30s, 40s and 50s - Studios in Kyoto specialized in producing jidai geki - Studios in Tokyo (Kamata and Ofuna) specialized in producing gendai geki

Director’s studio - employ a large number of established and talented directors under contract. Conservative production policy and targeted mainly the female audience. The decline of its fortune from the late 50s as its movies increasingly looked out of touch with the rapidly changing Japanese society.

The Post-war Japanese Film Industry From 1945 to 2002 Under the charismatic president of the company and chief executive producer, Nagata Masaichi, it produced internationally acclaimed films - Rashomon (1951), The Tale of Ugetsu (1953) and The Gate of Hell (1954).

From the 50s to 60s it produced high-budget epics using top film stars such as Machiko Kyo, Yamamoto Fujiko, Wakao Ayako, and Ichikawa Raizo. Autocratic Nagata became the cause of trouble rather than asset in the 60s. Sensationalist movies in the 60s.

The Post-war Japanese Film Industry The film production branch of Takarazuka Theatre Company founded by Kobayashi Ichiro, a show- business Entrepreneur, in 1937. After the war, the company experienced the greatest labour dispute and was split into two companies - Toho and Shin (new) Toho.

Kurosawa was under its contract in the 50s Kurosawa was under its contract in the 50s. Monster films such as Mothra and Godzilla were its proud products of the 50s. During the slump it shifted to the production of movies for children. Now the most successful company turning popular TV programmes and comics into films.

The Post-war Japanese Film Industry The youngest major film company founded by the millionaire owner of Tokyu Railway Co. Goto Keita in 1949, and later came to specialize in genre pictures - crime thrillers, sward play films, and Yakuza movies.

Commercially the most successful and the only film company making healthy profits through Yakuza films through the 60s and 70s while other film companies were struggling to survive. It came to also specialize in animation from the 80s

New Youth Films The emergence of a new genre in the mid-fifties - youth film Its origin - the success of a novel - Season of the Sun by Ishihara Shintaro - a bestseller which scandalized the older generations and created a social phenomenon, Taiyo-zoku (‘Sun-tribe’) lifestyle and a series of ‘Taiyo-zoku’ movies Taiyo-zoku Japanese equivalence to Greasers youth subcultural movements in US and Rockers and Mods in Great Britain

Youth subcultures in the 50s and 60s Consumerism, care-free and reckless action, loose sex, drug, rock music

New Youth Films Phenomenal success of Nicholas Ray’s Rebel without a Cause (1955) and Richard Brooks’ Blackboard Jungle - featuring the youth and youth culture with sympathy

New Youth Films British films which dealt with the youth and new youth culture in northern industrial cities: Karel Reisz’s Saturday Night and Sunday Morning (1960), Tony Richardson’s The Loneliness of the Long Distant Runner (1962)

Taiyo-zoku movies and the new youth film New Youth Films Taiyo-zoku movies and the new youth film - about the youth who live amoral, licentious and irresponsible lives Season of the Sun (1956) Crazed Fruit (1956) Punishment Room (1956) Man Who Caused a Storm (1957) The genre was first exploited by Nikkatsu

Created the new young idols - Ishihara Yujiro,, Shishido Joe, Akagi Keiichiro, Kobayashi Akira

Nitani Hideaki, Watari Tetsuya, Matsubara Keiko, Asaoka Ruriko Nitani Hideaki, Watari Tetsuya, Matsubara Keiko, Asaoka Ruriko. Thanks to the new strategy, movie attendance rose to just over a billion, a post-war high in 1958.

New Youth Films In 1958 Shochiku was the poor fourth after Nikkatsu, Toho and Toei at the box office Rivals’ triumph, poor performances of its films (including Ozu’s) and the success of French nouvelle vague films prompted: Change of its production policy (shift to the movies targeted for the youth market) and promotion of young assistants to directors.

Oshima Nagisa in Shochiku Entered Shochiku as assistant director in 1954. With his friends he started a film magazine and wrote scripts which were never filmed. Political and artistic radical.

Oshima Nagisa in Shochiku An admirer of Crazed Fruit by Nakahara Ko ‘Some people realized coming of new age for Japanese movie within the sound of the woman’s skirt torn and the swelling noise of the motorboat on which the hero killed his brother.’

Oshima Nagisa in Shochiku Suddenly and unexpectedly he was given a chance by Kido Shiro to direct a film. A Town of Love and Hope (1959, the original title; The Boy Who Sold His Pigeon)

Oshima Nagisa in Shochiku Cruel Story of Youth (1960) A college student rescues a high school girl who are being sexually assaulted. Their affair is not a innocent one. They learn they can make easy money by extorting money from men who make a pass at her.

Oshima Nagisa in Shochiku The film is an examination of hopelessness, victimization, apathy, exploitation, and cultural alienation against the background of radical political and social change - the student uprising in Korea and movement against the US-Japan Security Pact.

Oshima Nagisa in Shochiku The Sun’s Burial (1960): The underclass in Osaka’s slum engage in pilfering, assaulting, robbing, trading ID and blood. Portrayal of Japan’s lost generation; the examination of the loss of Japanese cultural and spiritual identity and its subsequent chaos and nihilism.

Oshima Nagisa in Shochiku Night and Fog in Japan (1960) A group of young intellectuals and their professor gather for a wedding in which the betrayal of the leftwing political activists is revealed. Shochiku withdrew the film two days after its opening.

Oshima Nagisa after Shochiku Oshima left Shochiku in protest and became an independent filmmaker. His films were often financed by ATG (Art Theatre Guild), which started as a distributor and exhibitor (‘art theatre’) but later produced films of such directors as Oshima, Imamura, Shinoda, Yoshida.

Oshima Nagisa after Shochiku Violence at Noon (1966): A wealthy housewife is raped and murdered by a drifter whom her maidservant knows. The complicated relationship between the murderer, his wife and the maid is revealed through flashbacks. The portrayal of sexual desire, repression, and guilt.

Oshima Nagisa after Shochiku Death by Hanging (1968) A Korean rapist and murder is sentenced to death by hanging, but he survives the execution. For the following two hours, his executioners try to work out how to handle the situation in this black farce.

Oshima Nagisa after Shochiku Film is a tragi-comic and surrealistic reflection of the assimilation of Japanese-Korean, intolerance, and capital punishment.

Oshima Nagisa after Shochiku Boy A man and a woman travelled around Japan with their young son, whom they had trained to run in front of moving cars and pretend to be struck and badly injured. The parents would then demand money from the frightened drivers.

Oshima Nagisa after Shochiku The Ceremony (1971) A marriage is arranged between the two who had never met before but it is about to be cancelled once the bride-to-be sends words that she will not be arriving. The patriarch insists the ceremony continue as planned. Bride or no bride, the forms of tradition must be obeyed, so the gathered guests watch as the humiliated Masuo stands at the altar alone, “marrying” nothing but air.

Oshima Nagisa after Shochiku In the Realm of Senses (1978) A former prostitute now working in an inn is seduced by its owner. A great passion sparks in both and they leave the inn travelling around the country. They keep to themselves giving their entire existences to sex. In the end, with the man’s consent, the woman strangles him to death in a sex ritual and cuts his penis.

Oshima Nagisa after Shochiku Empire of Passion (1978) - a labourer in a provincial village, falls in love with the wife of a rickshaw driver, Gisaburo (Takahiro Tamura). Toyoji and Seki kill her husband to prevent him from discovering their affair, but when Gisaburo's ghost begins to haunt Seki, the lovers slowly fall apart.

Oshima Nagisa after Shochiku Merry Christmas, Mr. Lawrence (1983) - set in a POW camp in Java, a British officer exerts a strong sexual pull on the Japanese captain, who runs the camp. The British officer must be destroyed.

Oshima Nagisa after Shochiku Taboo (1999) Shinsengumi employs a young samurai, who has feminine beauty. He becomes the centre of homosocial and homosexual desire among the members of the militia.

Oshima’s Themes and Subjects ‘Active subject’ = the director expresses his deepest passions, anxieties, and obsessions ‘Active subjects’ repeatedly appear in Oshima’s films Exposé of social hypocrisy and corruption; the abuse of power and social and political exploitation

Oshima’s Themes and Subjects Through examining criminal actions and sexual behaviour, Oshima (1) flaunts the vulgarity of characters, but at the same time, (2) reveals the hypocrisy and corruption of the seemingly prosperous and polite nation, which let them exist. Then, they demonstrate (3) sexual crime and violence are not without connection with social exploitation, alienation and repression.