– Ngo Thi Thanh-
“The concept of” obscenity “takes place in situations when we dare to look at something that we desire but prohibition looked myself in that direction. When we feel things are discovered, the “obscene” disappears and there is a certain liberation. However, when someone wants to see it are not fully disclosed, it is still taboo, feeling “porn” is that, and even produced “porn” bigger. Porn because it is a test for “obscenity”, and that the interests of the porn genre is clear. Film porn should be allowed, immediately and completely. Just so, “porn” can be made meaningless “(Nagisa Oshima, the word” theory testing porn movies “1976).
The film “Dominion emotions” (In the realm of the senses) is consistently ranked in the movie about sex the most controversial. The projection film banned in Japan and directed by Nagisa Oshima as it faced the court that this is still a fascinating subject, but also challenging. This article choosing a point in the film – look at sex – to discuss views on sexuality throughout Oshima’s film career: “I can not separate them (sexual and political – Remarks) into two separate problems. These are similar problems “(Oshima, Quote by Joan Mellen, Voices from the Japanese cinema, Liveright, 1975, p 271).
“The View” (gaze) in cinema studies implied relationship between the look of the film takes place: audience – film world, the characters in the film world with each other, as well as the more complex systems: the audience with his uniform on screen character of social roles and mechanisms involved in the perception of gender and ethics. In “In the realm of the senses” we easily recognize “sexual look” into a network exists: in the first scene is a scene peeking Kichizo sex spouses of Sada, then a variety of different sexual sight Kichizo wife, young maid at the inn, the old geisha, and look at the phenomenon existed in the newspaper Sada Abe of Japan in the finale flashback. The sexual insight not just stop at the role of emotional stimuli and people are looking at, but more importantly they are used reflexive exit: the director exposing the mechanism exists in sight : the imposition of the moral community, censorship of culture – politics. In other words, Oshima’s film provocative, challenging the limits of sexuality.
To better understand this purpose, we need to go back a bit on the context of Japanese cinema in general and in particular of the decade Oshima 50-70. Tadao Sato in “Currents in Japanese Cinema” film called revolution that Oshima and the director of his generation as Imamura Shohei, Suzuki Hami is “sex wave” (sexual wave). Japanese critics went on, explaining why “the director (as Shohei Imamura, Nagisa Oshima, Suzuki Hami … – caption) have used sex to express their message.” According to him, they “try to capture the essence of the experience lies deep within the human psyche. Moreover, the problem of the platform, such as the relationship between the ruling class and the ruled, government and slaves, and confronted harmony, freedom and solitude, can be seen inside the sex between men and women. these problems are always defined in the context of major social or treatment and appropriate interpretation “(Tadao Sato (Trans. Gregory Barrett), Currents in Japanese cinema, internetional Kodansha, 1982, pp. 232-233).
Sexual gaze, as noted above, contains a strong pressure with body sex, sex. The relationship between Sada and Kichizu to surreptitiously place and standing in the uncomfortable sensation Sada, jealous, resentful of his wife’s lover. The look of Kichizu wife is carrying the weight look ethical, legal rules, the activation look self-censorship and Kichizu Sada. With Sada own, it was a look inspired by her violent desires when it comes down to the owner, the person deprived of love. Just look sex feels is present just feels excluded. The role holder has been legitimized both deposed, dismissed. Sada and Kichizu to move to a different space, where only they but seem Sada could not escape the power of sight Kichizu wife. Evidence that she and Kichizu still conducting marriage ceremonies witnessed the geisha. So sex is never a personal story which is frequently the intervention, interwoven forms of discourse for individual adjustment to the system. This idea has been fully reflected in the film The Ceremony (ritual) earlier.
In space inn, two characters into amorous adventures constantly in search satisfaction, sexual wholeness. So, we’ll see the background almost abolished. Flesh shapes filled with pillows blankets, clothing chaos, crumpled. Tools for staging and actors are using food and wine to satisfy multiple channel feel more flesh. Both characters move in a closed space with a desire to immerse themselves into the world of colorful sex: sexual exploitation not only in touch but also the taste. Human society separates the dualistic view mental / physical concepts contained stratification: nobler spirit and physical body, sensuality is downgraded, sordid, wrong. Culture system contains concepts, stereotypes that we raised awareness of irrationality, not the correctness of their own. Backed by a comprehensive system of education, health …, it legitimized, naturalized obsession censorship body. Sada and Kichi reach deleting canceled all cultural conventions put on your body. Language they communicate with each other is the feeling, “the first signal system” and the word classes tend to express feelings of perception. And so sexual they really challenge the other sex look. Need to mention here that look maid sex of the child. Amazing attitude mixed with embarrassment and stigma of the sexual daring lovers is the result of a collision which Oshima would put his movie: sex and morality, politics, to from which it received the Freedom issue. Oshima had made her question before the court: “Japan is not a country in the advanced? Japan is not part of the free world? Freedom is not one of the principles of universality, which is included in the expression of sexual freedom stars? “.
Sada and Kuzichi often sarcastic, teasing attitudes that shy, awkward first “porn”. When people allow projection “In the realm of the senses” but to remove some sections, he said, “by the cut and cover, the film he made me become pure filth”. Because of the way it is like Oshima’s film turned into porn. The purpose of his film, partially exposed by the collision of view sex, the question is taboo (taboo) and limitations on sexuality. Therefore, the part itself is striking panic of Sada, color is increasingly clear bleak at the end of the movie. Although both Sada and Kichi as the closed space of their own, forgotten life outside the flow, but they still can not escape the fate of its history. Highest expression for this limit is death: Sada neutering lover’s body. A close-up action shot cut and a panoramic shot from above Sada holding the penis is next to the bloody face was shocking to the viewer. It rudely insulted cultural experience, the audience bewildered. Sounds takes us out of the Sada and where she came, told the paper that this strange event. Newspaper is the fleeting current events and news with the mission, it will still exist something that has not been moved out to the prevailing view sex. This obsession causes the drift, “sliding definition” of the movie which inspired it. Reality Sada disseminate castration mistress, and the loss can not be recovered in the concept, look the other sex.
To partially explain this idea of Oshima, we need to say is “In the realm of the senses” release name in French is “L’Empire des sens” pun which is reminiscent L’Empire des Signes work of Roland Barthes. In the opinion of Oshima, foreigners often only understood through symbols of Japan. That means, class specific indigenous culture has been lost or disseminate under the symbol system. So Japanese director to make a film experience through every step, sexual limits. Complete end to end Sada and Kichi two characters are back to the “raw”, not bright or highly technical beauty. Oshima has been traditionally exploited for sex in Japanese culture with Genji Monogatari, Noh …. despite government restrictions about bringing up sexual visual arts – a result of the Meiji reforms to meet the requirements of the West. Sada and Kichi explore gender primal feeling. The definition of their existence are captured, experienced and effort to reach sexual desire is born. Towards the end, as the dominant Sada and Kichi controlled by his intense desire. Many studies have shown the phenomenon of inverted hierarchy, women become controlling, sexual embrace rules. So by putting the whole social stability emotional territory, director conducted a revolution to reset the current hierarchy in Japanese culture: the predominance of men.
In summary, born in an era where all traditional values shaken to its roots, Oshima soon receive the critical disaster, destruction and creation. So when his film exists only to provoke the conventional limits before the new age cinema. “The Diary of a Shinjuku Thief” (Diary Shinjuku thief) is the culmination of the liberal experiment of freedom, “The Ceremony” (Ritual) refined, settling it to “In the realm of the sense” bold , violently. Oshima and his colleagues have created the Japanese New Wave crests are sexual. In our opinion, a talented artist who has the ability to overcome any consequences, implicit prejudice in countless rituals, concepts for its sober analysis even for a moment. And sexual system look in the movie “In the realm of the senses” such a practice.
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