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The characters are visually at one with their environments, showing the influencing parallels between their subjective state of mind and that of their surroundings. The stunningly unconventional cinematography perfectly utilises open space and composes its characters in such a way, they become immersed within the frame. Like most Jissoji’s films there are some visual, specifically compositional correlations with the work of Yoshishige Yoshida. The cult itself is as much bizarre as it is unique, where potential female candidates are raped, and their partners are made to watch as a method of recruitment. They become entangled in a religious cult led by a charismatic cult leader who violently advocates the elimination of social and sexual conventions. The film is about two young alienated couples from Kyoto that visit a hotel overlooking a beach. There is some speculation surrounding director Akio Jissoji’s legitimate association with the Japanese new wave, but personally I feel his work perfectly represents the tail end of the movement. Interviews with the cast are incorporated into it this gives the audience a more detailed insight, yet distances us from the film’s world at the same time. The film allegedly had a huge influence on Stanley Kubrick when he was making “A Clockwork Orange” in 1971. Similar to Ingmar Bergman’s “The Passion of Anna” that was released the same year, metatextual techniques are used to add a postmodern slant to the movie. “Funeral Parade of Roses” masterfully merges sex, drug use and violence into a beautifully fragmented narrative.
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It is considered to be a gay adaptation of the ancient Greek myth of Oedipus Rex with its correlating themes of self-inflicted tragedy, destiny and free will. The film centres on a young transvestite called Eddy, he is a popular figure amongst the gay community and pursues a relationship with a bar manager from the city’s shady gay scene. Dealing with both the underground gay culture of Tokyo in the 1960’s and a young protagonist that is a transvestite, it makes the themes in many of the other new wave films seem quite conservative. Taking into consideration the time of its release, “Funeral Parade of Roses” was one of the most daring films produced within the new wave time frame. Funeral Parade Of Roses (Toshio Matsumoto, 1969) The film also addresses the prejudice attitudes towards Korean people in Japan at the time.ĥ. Oshima makes it clear to the audience that they are constantly watching a film, even to the extent of opening it in the format of an informational documentary. It is known by fans of the director (Oshima) for its Brechtian-like methods, specifically its use of ‘epic theatre’ and ‘theatre of the absurd’ conventions. This causes major complications amongst the execution team due to the law stating that a person unaware of a crime cannot be executed. The effects of the failed hanging result in the offender suffering from amnesia. In a nutshell, it observes a Korean convict who survives an execution by hanging and the problems his executioners are faced with whilst dealing with the dilemma. Death By Hanging (Nagisa Oshima, 1968)Īs a result of the film refusing to conform to traditional narrative conventions, “Death by hanging” is difficult to sum up into an abridged synopsis. The high levels of passion and subjectivity, gives the film the same rebellious energy you find in the narrative new wave films.Ħ. Unlike most documentaries of the time, Ogawa Shinsuke and his film crew actively participated in the confrontations, resulting in the film being both politically and emotionally fuelled. The construction plans were implemented without the permission of the local farmers and was so unpopular the government resorted to using riot police to keep order. The film is about the problems caused by the New Tokyo International Airport Corporation and the Japanese government, forcefully developing construction in rural areas of Narita.
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Shinsuke Ogawa’s 1968 film “Summer in Narita” is one of the most notable documentaries that emerged out of the Nuberu Bagu and was part of a series called the “Sanrizuka”, which would go on to achieve major historical significance. Not all of the new wave films were dramas and narrative pictures, there were a few documentaries associated with the movement as well.