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Takeshi Kitano – I Sin Egen Beat

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Takeshi Kitano – I Sin Egen Beat Takeshi Kitano – i sin egen beat Av Terje Hoaas Masteroppgave i medievitenskap Institutt for medier og kommunikasjon Universitetet i Oslo Våren 2008 Takkeliste En stor takk går til min veileder, Anders Fagerjord, ved IMK og universitetet i Oslo for hans tålmodighet og uvurderlig faglig veiledning. I tillegg ønsker jeg også å takke mine medstudenter Ellen Ceeberg og Maria Moseng for deres gode tilbakemeldinger under gruppeveiledningen. En stor takk går også til mine foreldre, Geir Hoaas og Ingunn Elisabeth Welle, som har gjennomlest hele oppgaven. Til slutt går min takknemlighet til Kazuhiko Yamada som har designet forsiden til oppgaven samt Darren McKellep for hans hjelp til det engelske sammendraget. Oslo, juni 2008 Terje Hoaas Sammendrag Takeshi Kitano er en av de ledende filmregissørene fra samtidens Japan. Med sine kritikerroste filmer HANA-BI og Zatoichi har han opparbeidet seg et internasjonalt renommé som en særegen filmregissør. Disse to filmene er med på å vise hvordan Kitano behersker ulike filmgenrer i tillegg til å skape et distinktivt personlig preg på sine filmer. På begynnelsen av 1990-tallet lagde Kitano hardbarka yakuza-filmer med brutale voldsscener. Mot slutten av samme tiår begynner Kitano å utvide sitt repertoar med sitt mesterverk HANA- BI fra 1997. Seks år senere kommer et nytt mesterverk fra den japanske regissøren med filmen Zatoichi. Her viser Kitano evnen til å utfordre seg selv ved å lage filmer i helt ulike filmgenrer. HANA-BI er et samtidsdrama med fokus på forholdet mellom mann og kone, og kameratskapet mellom to menn. I Zatoichi lager Kitano sin første samurai-film i en erketypisk japansk filmgenre. Likevel klarer han på en mesterlig måte å sette sin velkjente signatur på filmene som gjør at man kjenner igjen hans personlige uttrykksform. Dette er elementer som er viktige når man skal vise hvordan og på hvilken måte Takeshi Kitano bør bli sett på som en ekte auteur. Summary Takeshi Kitano is one of the leading contemporary film directors from Japan. With critically acclaimed films such as HANA-BI and Zatoichi, he has earned an international reputation as a distinctive filmmaker. These two films in particular serve to illustrate how Kitano can master different film genres as well as create a specific personal style within his films. In the early 1990s Kitano made hard-core yakuza films with brutal and violent film scenes. By the end of the same decade Kitano had started to expand his repertoire as a filmmaker with his masterpiece HANA-BI from 1997. Six years later he achieved another masterpiece with the film Zatoichi. With these two films Kitano displays his ability to challenge himself by making films in totally different genres. HANA-BI is a contemporary-life film focusing on the relationship between a man and his wife in addition to the camaraderie between two men. Zatoichi represented Kitano’s first-ever samurai film – the most typically Japanese film genre, yet Kitano still succeeds in creating his own personal signature on his films so brilliantly that one can recognize his individual style of expression. These are key elements in demonstrating how Takeshi Kitano should be recognized as a true auteur. Innholdsfortegnelse Innholdsfortegnelse .................................................................................................................... 1 1.0 Innledning............................................................................................................................. 3 1.1 Problemstilling ................................................................................................................. 4 1.2 Metode.............................................................................................................................. 7 1.3 Hvem er Takeshi Kitano?................................................................................................. 8 1.3.1 Kitanos barndom ....................................................................................................... 8 1.3.2 Karrieren tar av.......................................................................................................... 9 1.3.3 Takeshi Kitano – en filmregissør ............................................................................ 11 2.0 Auteur Teorien ................................................................................................................... 14 2.1 Auteurbegrepets vugge................................................................................................... 16 2.2 En eller flere auteurer? ................................................................................................... 19 2.2.1. Writer-director........................................................................................................ 22 2.3 Individuell stil ................................................................................................................ 22 2.4 Konklusjon ..................................................................................................................... 23 3.0 Klassisk Japansk filmstil .................................................................................................... 25 3.1 Hva er filmstil?............................................................................................................... 25 3.2 Japansk film.................................................................................................................... 26 3.2.1 Japansk filmhistorie................................................................................................. 27 3.3 Den klassiske stilen ........................................................................................................ 29 3.3.1 Japansk mise-en-scene ............................................................................................ 32 3.3.2 Jidaigeki-filmer ....................................................................................................... 36 3.3.3 Gendaigeki-filmer ................................................................................................... 39 3.4 Konklusjon ..................................................................................................................... 40 4.0 Analyse av HANA-BI ........................................................................................................ 42 4.1 Synopsis ......................................................................................................................... 43 4.2 HANA-BI, typisk japansk? ............................................................................................ 45 4.3 Stiltrekk i HANA-BI ...................................................................................................... 49 4.3.1 Narrativ oppbygging ............................................................................................... 53 4.3.2 Tomhet som Ozu ..................................................................................................... 55 4.3.3 Tusjmalerier ............................................................................................................ 56 4.3.4 Replikk minimalisme .............................................................................................. 60 4.4 Konklusjon ..................................................................................................................... 62 5.0 Analyse av Zatoichi............................................................................................................ 63 5.1 Synopsis ......................................................................................................................... 65 5.2 Zatoichi, typisk japansk?................................................................................................ 67 5.2.1 Stiltrekk i Zatoichi................................................................................................... 69 5.2.1.1 Mido-poji.............................................................................................................. 70 5.2.1.2 Close-up ............................................................................................................... 72 5.3. Narrativ oppbygging ..................................................................................................... 74 5.3.1 Kitanos signaturscener ............................................................................................ 76 5.3.2 Fokus på Hattori...................................................................................................... 77 5.4 Kitanos tvist.................................................................................................................... 78 5.4.1 En mer moderne utgave?......................................................................................... 79 5.4.2 Bruk av humor......................................................................................................... 81 5.5 Konklusjon ..................................................................................................................... 83 1 6.0 Takeshi Kitano – en japansk auteur?.................................................................................. 85 6.1 Kitanos rolle i sine filmer............................................................................................... 86 6.2 Kitano – en kunstner?..................................................................................................... 88 6.2.1 Ingen tilfeldigheter .................................................................................................
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