By Sean Redmond
The Cinema of Takeshi Kitano: Flowering Blood is a close aesthetic, Deleuzian, and phenomenological exploration of Japan's most interesting currently-working movie director, performer, and big name. the amount uniquely explores Kitano's oeuvre during the tropes of stillness and stream, turning into animal, depression and loss, depth, schizophrenia, and radical alterity; and during the classy temperatures of colour, mild, digital camera stream, functionality and concrete and oceanic area. during this hugely unique monograph, all of Kitano's movies are given due attention, together with A Scene on the Sea (1991), Sonatine (1993), Dolls (2002), and Outrage (2010).
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Extra resources for The Cinema of Takeshi Kitano: Flowering Blood (Directors' Cuts)
Within the megastar changing into girl and animal, within the border crossings that ensue while Kitano silently weeps and kills, there's an excessive acceptance of his/our molecular, salty and fleshy, and rainy and pink being-in-the-world. As Patricia MacCormack explains: turning into is the stepping into a participation with particular molecular intensities of one other point. turning into is neither an imitation the place we act like, nor a construction of a brand new Oedipal or capital kinfolk the place we belong inside a hierarchical constitution of a special family tree. changing into selects sure specificities and intensities of a specific thing and dissipates these intensities inside of our personal molecularities to redistribute our selves. We decide upon a time period and by way of starting to affectuations of forces of that time period turn into a hybrid anomaly, a special mingling. (2008: ninety two) f lowe r i n g b lo o d Kitano_pages. indb seventy nine seventy nine 19/12/12 22:15:32 Takeshi Kitano/Beat Takeshi’s special self-Other comingling, the liquid confusion on the centre of his star-artist-personality character, and the ache he is going via in his motion pictures, is one in keeping with marginal identification and minority changing into. Textually, then, Kitano’s movies problem the very substance of the luck fantasy, and of the trajectory of his personal becoming-star. in the course of the dissolution of the starartist physique, in the course of the womanly and the animalistic, and during the alien alterity that wraps itself round every thing, one will get to feel, to event a physique past language, past the docility and unhappiness from which it's always rooted in. Kitano’s sadism is matched through his masochism; the violence he places out is itself placed again into his physique because it is pummelled, and changed into a soreness snapshot. Kitano doesn't easily beat up on his superstar selves, even if, yet on stardom and big name, and on liquid capitalism itself. you possibly can learn the Haruna/Nukui/Aoki series from Dolls as a severe engagement with superstar tradition and the defective para-social relationships it produces. Haruna merely reports the area via her famous person self, whereas Nukui and Aoki simply locate excitement or communion on the planet throughout the determine of Haruna and the fan-tribes that emerge round her performances and output. Haruna can't face the true international while her famous person prestige is taken away. Nukui (Tsutomu Takeshige) and Aoki (Al Kitago) fight to reside in a (mediated) global with no the fame photograph of Haruna to hook up with. They have been blinded via her ‘love’ sooner than her vehicle twist of fate and Nukui blinds himself in order that he can keep on the imagined connection that he (and now) thinks they proportion. this can be an severe kind of fan traveling and worship. That those engagements lead to tragedy is an indication of the liquid nature of the fame and the liquefying of recent dwelling. you can learn Haruna in Dolls, then, because the empty physique of commodity star because it manifests in modern Japan. She is a mediated, para-social entity whose synthetic functionality lacks intensity or which means. Her blindness is the blindness of up to date commodity existence itself.