1. Oshima Nagisa 2 Stylistic Self-negation

2. Changing Styles A variety of visual and narrative styles. Different visual and narrative styles employed in each film Deliberate refusal of relying on a constant and enduring visual (narrative) styles.

3. Changing Styles Referential and self- referential style - formal characteristics made of cinematic quotations Reference to Brecht Theatre, films of French ‘nouvelle vague’ (Jean-Luc Goddard) and Alain Resnais, British social realist films, etc. Self-referential: conscious about his own film styles

4. Experimental film making Style is different in each film but is con- sistentely experimental. New, unexpected, unpredictable and the most importantly challenging and subversive (aesthetically and politically) Unconventional On the verge of being vulgar and offensive

5. Mannerist Filmmaking Mannerism: Artistic style after the end of High Renaissance Reacting to the harmonious ideals and mimetic naturalism of High Renaissance, it sought after tension and instability rather than balance and clarity. Mannerist visual style characterized by artificiality and artiness; elegance and technical virtuosity; sophisticated bizarreness Baroque (> barocco) ‘rough or imperfect pearl’

6. Mannerism and Baroque: aesthetic attitudes which prefer inharmoniousness and imperfection to perfect harmony

7. Paintings of High Renaissance perfect harmony and naturalism Giovanni Bellini, Madonna of the Meadows (ca.1500) Parmigiano, Madonna with the Long Neck (1935-40)

8. Figures in Mannerist paintings have graceful but strangely elongated limbs, small heads, stylized facial features; Their poses are difficult; Deep, linear perspective of High Renaissance disappeared and is flattened so that figures appear decorative forms. Intense & unnatural colours; Sense of scale ignored; Inventive, grotesque pictorial fantasy.

10. Filippino Lippi, Pieta (1500)Rosso Fiorentino, Dead Christ with Two Angels (1527)

11. Mannerist Visual Styles Throughout the film the camera are tilted – crooked, precarious imagery Corresponding to the film’s subject – insecurity of a boy of a single parent The Town of Love and Hope Oshima’s first film.

15. Mannerist Visual Styles Bold compositions making most of the wide screen format Garish, raw and lurid colours in Oshima’s second film, Cruel Story of the Youth

21. Mannerist Visual Styles: Sun’s Burial Sexual energy in utter hopelessness and poverty is expressed by the use of symbolic colour – lurid red in Sun’s Burial Red of the national flag (sarcastic comment) Red of blood (hemorrhage) Red of hot desire Widescreen and close ups

30. Mannerist Visual Styles: Night and Fog in Japan 100 minutes discussion and debate about the Japanese politics and political betrayal in the setting of a wedding reception. Brechtian chamber drama Night and Fog in Japan, Alain Resnais’ Nuit et Brouillard (Night and Fog)

31. The film is made of only 43 shots (c.f. 2,000 in Violence at Noon) Even more jagged camerawork with hand-held camera Format of chamber drama, ‘discussion drama’ shot in sets - 1& 2/1 hour debate on the left-wing politics in 1960.

32. Shallow space composition

33. Widescreen and close-up

34. Widescreen, close-up and shallow space

36. Mannerist Visual Styles: Violence at Noon Unlike Night and Fog, Violence at Noon is frenetically edited with jagged jump cuts (an action is not shown to the end and an action begins in the middle) 2,000 shots Complicated flashbacks Overexposed and whitewashed grainy photography

41. Mannerist Visual Styles: Pleasure of the Flesh Pleasure of the Flesh Displays Oshima’s favourite mise-en-scène – widescreen, lots of close-ups, sexual actions in which a body stretches horizontally and a face looks down on it virtically

42. Experimental Film Making Reference to soft-porn film genre Reference to gangster film genre Avant-garde and surrealistic narrative and images In Pleasure of the Flesh

50. Mannerist Visual Styles: Death by Hanging Shifting styles - in the beginning the film is shot in somber instruction film - later, it adopts more self- reflexive avant-garde style (characters and Oshima speaking to the spectator). Artificial compositions – symmetry, profile, straight-on, and framing

57. Mannerist Visual Styles: Sing a Song of Sex In the format of a typical ‘coming-of-age’ film, Oshima vents his frustration with the apathy of young generation in Japan through this image of frigidity in Sing a Song of Sex Oshima created a series of politically subversive images.

61. Mannerist Visual Styles: Japanese Summer Changes in gender roles - a girl obsessed with sex and a man with death in Japanese Summer: Double Suicide Signs – written words and symbols became conspicuous elements of Oshima’s films Oshima’s signature mise-en-scène: close-up in WS

65. Experimental Film Making The Diary of a Shinjuku Thief, one of the most experimental of Oshima’s films Reference to Goddard’s La Chinoise Diary of a Shinjuku Thief

67. Mannerist Visual Styles: Diary of a Shinjuku Thief Shot as a cinematic collage (Collage = a picture made by sticking other pictures, photographs, cloth etc.) Collage of documentary film, (avant-garde) theatrical performance, words and the cameo appearance of cultural icons of the 1960s (Yoko’o Tadanori, Tanabe Moichi, Kara Juro, etc.)

70. Mannerist Visual Styles: Boy Entirely shot on location from Kochi to Hokkaido. Cinema-véritè like realism shot with long lens and hand-held camera. Shot with available, natural light Fidelity to landscape and figures in it. ‘Boy’ did not have previous acting experience.

71. Experimental Film Making Image of loneliness - a boy denied education and happiness in The Boy Long shots against the background of forlorn landscape and indifferent cityscape.

77. Mannerist Visual Styles: The Ceromony The Ceremony A grandiose set was constructed by the art department of Daiei Kyoto Studios Solemn photography and stylized mise-en-scène Events are shown in bold flashbacks. Conventional representation with Brechitian detours

78. Mannerist Visual Styles Stylized and contrived compositions in Ceremony – symmetrical and unsymmetrical, bold compositions Metaphor for patriarchal order and disorder

85. Mannerist Visual Styles: The Realm of Senses Pursuit of total pleasure and happiness at the time of the Sino-Japanese War in In the Realm of Senses. Shot in lurid colours and bold composition

86. Late Film Making Styles Its mise-en-scene creates claustrophobic atmosphere. Strong and deep colours with low-key lighting (Eastmancolor). No demarcation between spiritual and physical love - solemnity and gravity of love-making images http://www.youtube.com/watch?v=bk_aOjfkC rYhttp://www.youtube.com/watch?v=bk_aOjfkC rY

91. Mannerist Visual Styles: Empire of Passion Pursuit of pleasure and the price to pay for it - image of uncontrollable passion and guilt in Empire of Passion Shot in somber and rich pastel colours

92. Late Film Making Styles Underlit - dominated by deep green and brown colours. Styles closely associated with genre movies - film noir, ghost film and historic drama. The same motif but a lot less intense than In the Realm of Senses

98. Mannerist Visual Styles: Merry Christmas Mr. Lawrence Oshima shifted his film subject from heterosexual to homosexual love Shot in more conventional war-film style

99. Late Film Making Styles Mixture of stylistic and impressive images and conventional visualization. Mixture of sloppiness and sophistication Star vehicle: David Bowie, Ryuichi Sakamoto and Beat Takeshi

103. Late Film Making Styles Ideas shocked the viewer – Max, Mon amour Forbidden love with an animal Luis Buñuel style satire on bourgeois moral

106. Mannerist Visual Styles: Taboo Highly aesthetic historical drama Beautiful and stylized set design Audacious costumes designed by Wada Emi Mesmerizing sword play Deep and strong colours: dominant colour blue