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Kitano Takeshi. Deconstructing Violence. Kitano Takeshi. Born on 17, January 1947 His father, Kikujiro, was a house painter, a failed yakuza(?) Excelled in math and science, though he was a college drop-out.

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Kitano takeshi

Kitano Takeshi

Deconstructing Violence


Kitano takeshi1

Kitano Takeshi

  • Born on 17, January 1947

  • His father, Kikujiro, was a house painter, a failed yakuza(?)

  • Excelled in math and science, though he was a college drop-out.

  • Found a job at France-za, a striptease club - being elevator operator and bringing in customers.


Kitano takeshi2

Kitano Takeshi

  • Tutored by Fukami Senzaburo to be a comedian.

  • Kitano came at the end of the illustrious list of Asakusa entertainers since the pre-war period - Enomoto Ken’ichi, Furukawa Roppa, Atsumi Kiyoshi, Hagimoto Kin’ichi.


Asakusa comedians

Asakusa Comedians


Kitano takeshi3

Kitano Takeshi

  • With Kaneko Kiyoshi, Kitano formed a duo standing comedian team, Two Beat.

  • Anarchic stage performance - full of black homour, discriminatory jokes, obscene words and actions breaking broadcasting ethical codes, though popular.

  • http://jp.youtube.com/watch?v=QAHIAMYwfcM


Kitano takeshi as actor

Kitano Takeshi as Actor

  • 1969 Yuke Yuke Nidome no Shojo (Go, Go, Second Vergin)by Wakamatsu Koji, as an extra

  • http://jp.youtube.com/watch?v=9cAH_J8JQw4

  • 1980 Makoto chan (Makoto) as voice actor

  • 1981Danpu Wataridori (Dump Migratory Bird)by Sekimoto Ikuo

  • 1981 Manon by Maeda Katsuhiro

  • 1981 Sukkari Sonoki De (Completely with That Air )

  • 1982 Natsuno Himitsu (Secret of Summer)

  • 1983 Senjo no Merry Christmas (Merry Christmas, Mr. Lawrence)by Oshima Nagisa

  • http://jp.youtube.com/watch?v=LoV3rgyG2i4


Kitano takeshi as director

Kitano Takeshi as Director

  • Sono Otoko Kyobo nitsuki (Violent Cop, 1989)

  • Directed by Kitano Takeshi

  • Written by Nozawa Hisashi (and Kitano Takeshi uncredited)

  • Photographed by Sasakibara Yasushi

  • Edited by Kamiya Nobutaka


Kitano takeshi as director1

Kitano Takeshi as Director

  • 3-4x10gatsu (Boiling Point, 1990)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi and Toshio Taniguchi

  • Shochiku Fuji and Bandai


Kitano takeshi as director2

Kitano Takeshi as Director

  • Ano Natsu, Ichiban Shizukana Umi (A Scene at the Sea,1991)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi

  • Office Kitano


Kitano takeshi as director3

Kitano Takeshi as Director

  • Sonatine (1993)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi

  • Shochiku Dai’ich Kogyo


Kitano takeshi as director4

Kitano Takeshi as Director

  • Min’na Yatteruka! (Getting Any, 1995)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi

  • Office Kitano


Kitano takeshi as director5

Kitano Takeshi as Director

  • Kids Return (1996)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi

  • Office Kitano, Bandai, Ota Publishing


Kitano takeshi as director6

Kitano Takeshi as Director

  • Hana-bi (Firework, 1997)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yamamoto Hideo

  • Edited by Kitano Takeshi and Ota Yoshinori

  • Office Kitano, Bandai, TV Tokyo, Tokyo FM


Kitano takeshi as director7

Kitano Takeshi as Director

  • Kikujiro no Natsu (Kikujiro, 1999)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi and Ota Yoshinori

  • Office Kitano, Bandai, Nippon Herald, FM Tokyo


Kitano takeshi as director8

Kitano Takeshi as Director

  • Brother (2000)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi and Ota Yoshinori

  • Bandai, Office Kitano, FM Tokyo, Little Brother Inc.


Kitano takeshi as director9

Kitano Takeshi as Director

  • Dolls (2002)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi

  • Designed by Isoda Norihiro

  • Costume by Yamamoto Yoji

  • Office Kitano, Bandai, TV Tokyo, FM Tokyo


Kitano takeshi as director10

Kitano Takeshi as Director

  • Zatoichi (2003)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi

  • Office Kitano, TV, Asahi Asahi Broadcasting Co. FM Tokyo, Dentsu


Kitano takeshi as director11

Kitano Takeshi as Director

  • Takeshi’s (2005)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi

  • Costume by Yamamoto Yoji

  • Offfice Kitano, Bandai, TV Asahi, FM Tokyo, Dentsu


Kitano takeshi as director12

Kitano Takeshi as Director

  • Kantoku Banzai (2007)

  • Directed by Kitano Takeshi

  • Written by Kitano Takeshi

  • Photographed by Yanagishima Katsumi

  • Edited by Kitano Takeshi

  • Office Kitano, Bandai, Dentsu, TV Asahi, FM Tokyo


Subversion of genres

Subversion of Genres

  • Action Film - Violent Cop (1989), Boiling Point (1990), Sonatine (1993), Brother (2000), Zatoichi (2003)

  • Youth Film - A Scene at the Sea (1991), Kids Return (1996)

  • Melodrama - (A Scene at the Sea ) Fireworks (1997), Dolls (2002)

  • Slap-stick Comedy - Getting Any? (1995)

  • Biographical Drama - Kikujiro (1999), Takeshi’s (2005)


Subversion of genres1

Subversion of Genres

  • What makes Kitano auteur is not his consistent themes but his deconstruction of them.

  • Not violence but how he deconstruct it.

  • Not love but how he deconstruct it.

  • Not life styles of young people but how he deconstruct them.

  • Conventional cinema concepts and traditional genre formulae are questioned, distorted and made ambiguous.


Subversion of genres2

Subversion of Genres

  • Violent Cop as an cop action thriller

  • A lone police officer attempts to bring justice against a criminal organization and his own corrupt institution (Dirty Harry, French Connection)


Subversion of genres3

Subversion of Genres

  • Sonatine as a yakuza action thriller

  • A Tokyo yakuza was commissioned to take his men to Okinawa to settle the local dispute between two clans only to find that this is a set up. While he is away, others can take over his territory. (The Yakuza Paper and other gangster films)


Subversion of genres4

Subversion of Genres

Deviation from the rules of the genre

featuring violence and violent actions

Movies with Violent Actions

  • Devoid of Catharsistic functioning of violence

    (Catharsis - Aristotelian concept of pleasure obtained by releasing heightened tension)

    → e.g. justice is done through fulfilling a violent revenge.


Subversion of genres5

Subversion of Genres

→ violence as a spectacle

→ violence as a game

→ violence as a means to satisfy sadistic / masochistic desire


Subversion of genres6

Subversion of Genres

  • Violence and revenge

  • e.g. Godfather

  • Michael Colreone kills a mafia boss and a corrupt police cooperator who have nearly got his father assassinated.


Subversion of genres7

Subversion of Genres

  • Violence as a spectacle

  • e.g. Bonnie and Clyde

  • Well-choreographed deaths of the hero and heroine which provokes sadness and sympathy among the audience.


Subversion of genres8

Subversion of Genres

  • Violence as a game

  • e.g. Talantino’s films

  • Virtual violence devoid of realistic meanings


Subversion of genres9

Subversion of Genres

  • Violence as a means to satisfy sado-masochistic desire

  • Ultima grida dalla savanna (1975)

  • A pseudo-documentary about every sorts of shocking events.


Subversion of genres10

Subversion of Genres

Violent Cop

  • What is the purpose of violence in this film?

  • Punishment - this purpose is undermined by the abuse of violence.

    The cop and the gangster are equal in their obsession with violence.


Subversion of genres11

Subversion of Genres

  • Revenge - loses its meaning when it loses its sight of what to achieve.

    The cop kills his own sister at the end of the

    film.

  • Good and evil interchangeable


Subversion of genres12

Subversion of Genres

  • Meanings of violence are further undermined by the coexistence of humour and jokes.

  • Ambiguity of violence

    Its function

    Its morality

  • Ambiguity in attitudes towards violence - criticizing or romanticizing? Demystifying or glorifying?


Subversion of genres13

Subversion of Genres

Sonatine

  • Opaqueness in narrative, inner psyche of the characters, and motivation for their actions

  • Obvious death wish of the protagonist - where does it come from?


Subversion of genres14

Subversion of Genres

  • Absurd and irrational

  • No explanation of motives: no cause and effect

    → Make the meaning of violence unclear and ambiguous.


Kitano and other genres

Kitano and Other Genres

  • Melodramas A Scene at the Sea and Fireworks - refusing the involvement of the audience in the actions of the film.

  • Love unfulfilled because of death or being overshadowed by death


Kitano and other genres1

Kitano and Other Genres

  • A Scene at the Sea

  • A part-time garbage collector, who is deaf and mute, finds a cracked surfboard. He practices surfing and his girlfriend, who is also deaf, watches on. Summer turns autumn. One rainy day, the girl sees her boyfriend surfboard but not him.


Kitano and other genres2

Kitano and Other Genres

  • Scarcity of dialogues

  • Lack of emotional highs and lows

  • Alienate the viewer as the characters in the film are emotionally alienated.


Kitano and other genres3

Kitano and Other Genres

  • Hana-bi

  • Action/Melodrama or Action/Melodrama/Comedy

  • The film refuses fundamental classification


Kitano and other genres4

Kitano and Other Genres

  • Sentimental - but interruptions, ellipses, discontinuities, and frequent flashbacks in narrative prevents the viewer from identifying with characters in the film.


Kitano and other genres5

Kitano and Other Genres

  • Biographical and auto-biographical films

  • Kikujiro is based on the memory of Kitano’s father, Kikujiro, but its accuracy is doubtful.

  • It includes many biographical and autobiographical elements, but they are unreliable.


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