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Voyeurism and His Visual Style

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1 Voyeurism and His Visual Style
Imamura Shohei Voyeurism and His Visual Style

2 Imamura’s Film Style SHOT SIZE
Imamura’s films predominantly consist of long and medium shots; hardly any close- and no extreme-close ups.

3 Imamura’s Film Style Natural light in both interior and exterior scenes Source light - not artificially lit Lighting in location shooting - shot in available light

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6 Imamura’s Film Style LIGHTING
Effective uses of high contrast of light and shadow - low key lighting

7 Imamura’s Film Style COMPOSITION Preference not to use elaborate and artful images and design Camera position - fixed around the waist level of characters - symbolic positioning (lower part of human body)

8 Imamura’s Film Style The Insect Woman (1963)
Shot entirely on location with simultaneous recording → sense of reality and spontaneity

9 Imamura’s Film Style ‘I decided to give up the convenience of studio shooting and shot The Insect Woman entirely on location. I also abandoned the convenience of post-recording. Actually existing buildings and places were used in this film and dialogue and sound were recoded by wireless microphone. I did not mind if the quality of sound is lousy. I preferred the tension created by the use of wireless microphone, which picked up even the breathing of actors.’

10 Imamura’s Film Style “Location shooting and simultaneous recording are a lot more painful. However, I was sure that we would find a new filming method different from the one we took for granted.’ Imamura Shohei Kinema Junpo

11 Physical limitations of location shooting
Imamura’s Film Style Physical limitations of location shooting INTERIOR SPACE (positioning of cameras and their manoeuverbility; positioning of lights) EXTERIOR SPACE (dictated by weather conditions; reality that you cannot alter)

12 Imamura’s Film Style Limitations of simultaneous recording
Inclusion of unnecessary noises Higher chances of re-take (time-consuming) Inarticulate and inaudible dialogues Limitations turned to advantages Reality effects / sense of tension / spontaneity

13 Imamura and Voyeurism Film as a form of voyeurist or scopophiliac art
A practice in which an individual derives sexual pleasure from observing other people. Such people may be engaged in sexual acts, or be nude or in underwear, or dressed in whatever other way the "voyeur" finds appealing.

14 Imamura and Voyeurism Films about voyeurism or peeping
Alfred Hitchcock’s Rear Window (1954) A wheelchair-bound photographer discovers a woman suddenly disappears from an apartment across from his, while closely watching the activities of the apartment bloc opposite.

15 Imamura and Voyeurism Michael Powell and Emeric Presburger’s Peeping Tom (1960) About a young man who murders women while using a portable movie camera recording the expressions of the dying victims.

16 Imamura and Voyeurism Other films on voyeurism or scopophiliac behaviour Krzysztof Kielowski’ A Short Film about Love Jacques Rivette, Celine and Jule Go Boating

17 Imamura and Voyeurism Steven Soderbergh’s sex, lies and videotape
Michelangelo Antonioni, Blow up

18 Imamura and Voyeurism Peter Weir’s Truman Show
David Lynch’s Blue Velvet Sam Mendes’ American Beauty

19 Imamura and Voyeurism Imamura’s films are not directly about voyeurism. They make the way in which a voyeur acts (peeping, recording) into a film style. A hidden (half-hidden) camera follows characters.

20 Imamura and Voyeurism The camera records actions from outside the room
A camera placed outside records actions which take place inside. The camera records actions from outside the room The camera imitates the way in which human eyes look - including limitations in sight.

21 Imamura and Voyeurism Intentions of Murders (1964), Pornographer (1966), A Man Vanishes (1967)

22 Imamura and Voyeurism Karayuki-san (1975), Vengeance Is Mine (1979), The Eel (1997), Black Rain (1997) ‘Voyeuristic’ filming style is particularly clear in these films.

23 Imamura’s Film Style Opposition and indebtedness to Ozu
Orderliness against chaos in film styles Obsession with camera position “Pillow shots” Films after Black Rain - moving towards Ozu

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