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Transforming the way people see the world, through film.
Often paired as twin avatars of the Japanese New Wave given the shared elements between them — an audacity both formal and social, a rejection of the refined tenor of traditional Japanese cinema, a propensity for mixing fiction and reality, and certain key themes sex and criminality, the abuse and resilience of women, incest, the social fissures of postwar Japan — Imamura and Oshima nevertheless can be construed as contraries, if not opposites. They are less the product of a postmodernist sensibility than of a desperate intelligence: Oshima made films as if they were a matter of life and death. Perhaps Oshima provided the clue for this transition: he once commented that, along with sex and crime, love became the third element in his cinema. You can unsubscribe at any time.
The module focuses on a study of the Japanese avant-garde cinema of the s and early s as a political backlash against the conservatism of the major film studios, the conservative LDP government, and the Korean and Vietnam Wars. Just as in Europe, Japan underwent a period of radicalisation in the s. A generation that sought through the intellectualisation of cinema to challenge, what many of them perceived to be a corrupt society that had learnt nothing from the experiences of World War II. At this time, the film industry also faced the challenge of television and the prospect of declining audiences. On successful completion of the module, a student should be able to demonstrate the ability to:. The syllabus is structured to give students a solid overview of this particular moment in Japanese visual history. Issues are covered from both a socio historical context and through issues in film theory. Thus the module should benefit both the area studies students and students from the discipline defined degree. Important notice regarding changes to programmes and modules.