Japan's new left and new wave. An ideology's perspective as an alternative to that of national cinema
Starting from the perspective that national cinema is not a neutral concept, but rather a film expression with ideological implications, in this article I will argue that what should be analysed in films is not what connects them to certain nations, but with certain ideologies. Rather than claiming...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2019 |
| País: | España |
| Institución: | Universitat Autònoma de Barcelona |
| Repositorio: | Dipòsit Digital de Documents de la UAB |
| Idioma: | inglés |
| OAI Identifier: | oai:ddd.uab.cat:200568 |
| Acceso en línea: | https://ddd.uab.cat/record/200568 https://dx.doi.org/urn:doi:10.3390/arts8010001 |
| Access Level: | acceso abierto |
| Palabra clave: | Film studies Ideological analysis Ideology Japanese cinema Nation National cinema New left New wave Nuberu Bagu Yoshida Kiju |
| Sumario: | Starting from the perspective that national cinema is not a neutral concept, but rather a film expression with ideological implications, in this article I will argue that what should be analysed in films is not what connects them to certain nations, but with certain ideologies. Rather than claiming the national nature of a film, it is more accurate to identify for instance elements of a national ideology underlying the film. It can be more enriching to analyse different film trends that are based on their connections with different ideologies, thus stressing their political nature, rather than highlighting cultural or geographical features in order to determine the supposedly natural outline of national cinemas. From this point of view, I consider the Japanese New Wave cinema of the 1960s and early 1970s to be a reflection of Japan's coetaneous New Left ideology. In order to illustrate this political reading of the Japanese New Wave, I focus on the analysis of a paradigmatic film: Eros + Massacre (Erosu purasu Gyakusatsu 1969), directed by Yoshida Kijū |
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