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Shinya Tsukamoto

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Shinya Tsukamoto Shinya Tsukamoto I en benhård og konfrontativ stil fortæller den japanske cyberpunk- instruktør Shinya Tsukamoto voldsomme historier om kropslige transformationer på baggrund af eksistentiel og seksuel fremmedgørelse Shinya Tsukamoto (f. 1960 i Shibuya- kesætklædte og navnløse ”salary man” distriktet, Tokyo) er herhjemme mest (spillet af Tomoro Taguchi), der lever et kendt for Tetsuo - The Iron Man (1988), fremmedgjort liv i den japanske storby - der gjorde ham kendt som en usædvanlig kolde menneskefjendske bygninger, cyberpunk-instruktør. Tetsuo har bl.a. meningsløse arbejdsdage og svimlende, været repræsenteret ved Natfilmfestivalen klaustrofobiske ture i Tokyos under­ og i Filmhusets forevisninger, men grundsbane hæmmer og undertrykker Tsukamoto startede sin karriere allerede i ham. 1986 med den 18 minutter lange 8mm- Et biluheld, genfortalt i flashback, brin­ film The Phantom o f Regular Size, samme ger ham i berøring med en metalfetichist år som han startede den eksperimentelle (spillet af Tsukamoto selv), hvilket åbner teatertrup Kaijyu Theater. protagonistens kød og sind for en invasi­ Shinya Tsukamotos stil er benhård og on af subversive elementer og en ny form konfrontativ, kendetegnet ved hyperkine- for frihed. Som følge af denne invasion tisk klipning, usædvanligt kameraarbejde bliver hans krop ufrivilligt transformeret og innovativ brug af bl.a. stop-motion til metal, og disse transformationer bliver animation. Han er ikke ufortjent blevet en måde at beskrive oprøret mod det pres sammenlignet med David Lynch (Eraser- og de forventninger, byen og samfundet head), Sam Raimi (Evil Dead) og ikke lægger på hovedpersonen. Samtidig viser mindst David Cronenberg, hvis voldsom­ de, at en mulig løsning er at bruge byens me body horrorfilm (bl.a. Videodrome) egne bestanddele (metal og beton) i kam­ har været en tydelig inspiration i skabel­ pen for uafhængighed. Med Tsukamotos sen af bl.a. Tetsuo, mens også de japanske egne ord er filmen dog mere et personligt anime- og manga-traditioner har haft en opgør end en direkte samfundskritik mod kraftig indflydelse på Tsukamotos udtryk. de begrænsninger byen pålægger ham: ”Min krop, eller måske mere generelt sagt, Tetsuo. Det svimlende sort-hvide værk menneskets natur, kæmper imod dette Tetsuo fra 1988, inspireret af bl.a. J.G. pres, mod denne snæverhed. Og netop Ballards Crash (som Cronenberg som dette afspejles i Tetsuo og i mine andre bekendt “filmatiserede” i 1996) og rost af film. Min anledning er derfor langt min­ bl.a. cyberpunkens fader, William Gibson, dre samfundskritisk end personlig.” er et godt eksempel på den afmægtige fin- En malerisk beskrivelse af opgøret med de-siécle følelse, der præger Tsukamotos Japans snævre tankegang og samtidig et oeuvre. Hovedpersonen er den simple jak­ udtryk for Tsukamotos store visuelle 283 Shinya Tsukamoto mens han jager hende, indtil hun bliver trængt op i et hjørne, hvor hun forsvarer sig med en kniv. Såret falder han om på gulvet, hvor hun knæler over ham og lidenskabeligt slikker blodet af ham, kun seksuelt ophidset af jagten, metallet og blodet. Denne anden del er meget fascine­ rende og vækker, som mange andre dele af filmen, kraftige associationer til bl.a. David Cronenbergs body-horrorfilm. Opfølgeren Tetsuo II: Body Hammer (1992) til Tsukamotos genredefinerende sort-hvide værk er basalt set bygget over samme handling som sin forgænger og er ikke så meget en efterfølger som en gen­ fortælling. Filmen er dog i denne omgang optaget i farver og er på mange måder en langt mere ligefrem action-film. Historien er mere afrundet og nuanceret, og den giver et større indblik i årsagen til hoved­ personens transformationer. Værket er dog udsat for Tsukamotos nu om muligt endnu voldsommere visuelle stil, hvor kameraet skiftevis kæler næsten homo- erotisk for nøgne overkroppe, som svedigt Tokyo Fist banker stål, og for metalrør der ruster i vandpytter - alt sammen klippet hyperki- netisk og med et futuristisk soundtrack, begavelse ses bl.a. i en scene, hvor hoved­ som forøger filmens særprægede dystopi­ personen først hallucinerer om at en ero­ ske fremtidsfølelse, og som effektfuldt tisk vild kvinde med en mandlig, slange­ understøtter portrættet af hovedpersonens agtig metalfallos voldtager ham analt nedtur og desperation. (optaget så det giver kraftige associationer til en blanding af kabuki-teater og tysk Tokyo Fist. Tokyo Fist (1995) er også en ekspressionisme). Dette er dog kun ind­ film med actionelementer, men den er ledningen til en scene, hvor hovedperso­ måske mere præcist et yderst særpræget nen dyrker klamrende, krævende sex med trekantsdrama. Den voldsomme klipning, sin kæreste, hvorunder han transformeres. som kendetegner Tetsuo og Tetsuo II, er Hun skriger af smerte da hans penis bliver ikke forsvundet, men er i længere perioder metallisk under kønsakten, først er det et blevet skruet ned til et mere lettilgængeligt ekstatisk skrig, men da hans penis bliver tempo, mens kameraindstillingerne og til en gigantisk boremaskine (og derved lydsporet stadig bærer præg af Tsukamotos mindeværdigt gennemborer et bord), flyg- karakteristiske tilgang. 2 8 4 ter hun. Han transformeres yderligere Shinya Tsukamoto Som både Tetsuo og Tetsuo II tematise­ ver. Filmen bliver i stedet et virkningsfuldt rer Tokyo Fist den japanske ’’salary mans” billede på hvor langt et menneske vil gå utilfredsstillende livsforhold, denne gang for at destruere andre og endeligt selv repræsenteret ved Tsuda Yoshiharu (spillet blive destrueret af byen, omend slutnin­ af Tsukamoto selv), hvis liv forløber for­ gen giver et tvetydigt glimt af håb imellem holdsvis stille og umærkeligt sammen stålkonstruktionerne. med hans smukke kone Hizuru, indtil han Tsukamoto er et interessant bekendt­ en dag m øder sin barndom skam m erat, skab, fordi han står for et kompromisløst bokseren Kojima. Et had/kærlighed for­ udtryk, hvor han påtager sig rollen ikke hold opstår mellem disse tre mennesker. blot som instruktør, men også som pro­ Hizuru opdager skjulte sadomasochistiske ducer, manuskriptforfatter, klipper, art sider af sin seksualitet, som blandt andet director og skuespiller. Hans film er, som klargøres med en ubehagelig on-screen hans æstetiske valg, tvetydige og til tider piercing af hans ene brystvorte. Disse svært tilgængelige - men som han selv undertrykte sider skræmmer den under­ siger: ”Mine film giver under alle omstæn­ kuede Tsuda og fører Hizuru i armene på digheder tilskueren en mulighed for at den mere maskulint potente Kojima. lære noget om vold og dens virkning. Det Fortvivlet over sin manglende handleevne betyder at han kan forstå sandheden om over for Kojimas fysiske og Hizurus seksu­ vold som fænomen. Tilskueren, som ser elle magt træner Tsuda sig op til at blive vold på film, begynder at forholde sig til en effektiv bokser i Kojimas bokseklub volden og at forstå den smerte den forår­ (transformationsmotivet går igen som i sager. Måske ikke fra begyndelsen, men til Tetsuo-fAmene), men forløsningen udebli­ slut.” Morten Greve Filmografi 1986 The Phantom of Regular Size (kort, også skuespiller) 1987 Denchu Kozo no boken/The Adventure Denchu Kozo (også skuespiller) 1988 Tetsuo/The Ironman (også skuespiller, klipper, cinematograf, manuskript, producer) 1990 Yokai Hanta - Hiruko/Hiruko the Goblin (også skuespiller) 1992 Tetsuo II: Body Hammer (også skuespiller, klipper, cinematograf, manuskript, producer) 1995 Tokyo-ken/Tokyo Fist (også skuespiller, klipper, cinematograf, manuskript, producer) 1998 Bullet Ballet (også skuespiller, klipper, cinematograf, manuskript) 1999 Soseiji/Gemini (også klipper, cinematograf, manuskript) 285.
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