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Document Citation Title Pigs, pimps and pornographers: the films of Shohei Imamura Author(s) James Quandt Source Cinematheque Ontario/a division of Toronto International Film Festival Group Date Type program note Language English Pagination 34-39 No. of Pages 6 Subjects Imamura, Shohei (1926-2006), Tokyo, Japan Film Subjects Jinruigaku nyumon (The pornographers), Imamura, Shohei, 1966 Ningen johatsu (A man vanishes), Imamura, Shohei, 1967 Kamigami no fukaki yokubo (The profound desire of the gods), Imamura, Shohei, 1968 Zegen (The pimp), Imamura, Shohei, 1987 Nippon sengoshi - Madamu Onboro no seikatsu (History of postwar Japan as told by a bar hostess), Imamura, Shohei, 1970 Eijanaika (So what), Imamura, Shohei, 1981 Buta to gunkan (Pigs and battleships), Imamura, Shohei, 1961 Akai satsui (Intentions of murder), Imamura, Shohei, 1964 Kuroi ame (Black rain), Imamura, Shohei, 1989 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) Fukushu suruwa ware ni ari (Vengeance is mine), Imamura, Shohei, 1979 Nusumareta yokujo (Stolen desire), Imamura, Shohei, 1958 Nishi Ginza Ekimae (Nishi Ginza Station), Imamura, Shohei, 1958 Nianchan (My second brother), Imamura, Shohei, 1959 Karayuki-san (Karuyuki-san, the making of a prostitute), Imamura, Shohei, 1975 Narayama bushi-ko (The ballad of Narayama), Imamura, Shohei, 1982 Nippon konchuki (The insect woman), Imamura, Shohei, 1963 Hateshinaki yokubo (Endless desire), Imamura, Shohei, 1958 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code).

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Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle
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University of Gothenburg Faculty of Humanities The Insect Woman – Contextualising Imamura (and the Intricacies of Global Cinema Study) Bachelor’s thesis in film studies by Noak Snow Gröning Presented spring term 2018 Tutor: Anna Backman Rogers Course: FL1801 Index 1. Abstract 3 2. Introduction 4 3. Purpose, Issues and Demarcations 6 4. Further Context 9 5. Earlier Research and Fields of Study 10 6. Theoretical Frameworks 10 7. Materials and Methods 18 8. Disposition and Historical Context 19 9.1 Analysis – Story Summary 25 9.2 Analysis – Themes and Aesthetic 29 9.3 Analysis – The Insect Woman and Early Summer 32 10. Conclusion 36 11. References 39 2 1. Abstract This essay represents an attempt to further the understanding of the films by Japanese New Wave director Shohei Imamura through the use of post-colonial theory, and political and cultural contextualisation; it also offers discussion on the inherent issues of discussing non- Western cinema from a Western point-of-view, and how post-colonial theory can be used tentatively by Western writers to prevent the perpetuation of orientalism and the generalisation of non-Western cultures as a single entity simply titled ‘the Other’. This is done through an in-depth exploration of Western film theory’s problematic relationship to Asian cinema, along with disposition and historical contextualisation relevant to Imamura’s films and the Japanese New Wave movement of the 1960s. This is then followed by an analysis on Imamura’s sixth film, The Insect Woman, released in 1963, in which I implement post-colonial theory while also comparing it to Yasujiro Ozu’s 1951 motion picture Early Summer, a film which addresses similar themes but in widely different ways.
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Shohei Imamura an Icarus Films Release
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