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By Sean Redmond
The Cinema of Takeshi Kitano: Flowering Blood is a close aesthetic, Deleuzian, and phenomenological exploration of Japan's best currently-working movie director, performer, and famous person. the quantity uniquely explores Kitano's oeuvre during the tropes of stillness and move, changing into animal, depression and loss, depth, schizophrenia, and radical alterity; and during the cultured temperatures of colour, mild, digital camera circulate, functionality and concrete and oceanic house. during this hugely unique monograph, all of Kitano's motion pictures are given due attention, together with A Scene on the Sea (1991), Sonatine (1993), Dolls (2002), and Outrage (2010).
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Extra info for The Cinema of Takeshi Kitano: Flowering Blood (Directors' Cuts)
Example text
In a Kitano film it is as if the environment is caught up in an elemental struggle for domination, for the right to exist or co-exist in the frame/world. There is a wonderfully evocative use of colour sensation in a Kitano film, one in which hue and palette are not only semiotically rich but, beyond that, somatically affecting with physical propensities. In interviews Kitano has spoken about how the colour blue is his base for all cinematic relations: it defines figure and contour and needs to be used ‘adventurously’.
The forceful qualities manifest in a Kitano close up is of pain, of a particular expression of pathos or suffering or deep feeling. In Kikujiro, Masao’s (Yusuke Sekiguchi) face carries with it the bewilderment of childhood loss and loneliness – with few friends, and an absent mother, we see his eyes look on the world with a pathos that liquefies the lens. According to Mary Anne Doane, ‘pathos closely allies itself with the delineation of a lack of social power and effectivity characteristic of the cultural positioning of children and women’ (2004: 5).
The sun comes out, warming my face, and the cherry blossoms, that now look more red than pink. Introduction Intermittent bursts or squirts of physical and sexual violence mark much of Kitano’s filmwork, as they do a great deal of cult Japanese film consumed in the West. While the violence is not as graphic or relentless as that found in the films of, for example, Miike Takashi, the body count is high and their ruination a decidedly bloody affair. Bottles are smashed against heads, eyeballs slashed open, brains blown out, and swords and knives penetrate skin and body parts.