Arrow Video Arrow Video
Total Page：16
File Type：pdf, Size：1020Kb
ARROWARROW VIDEO VIDEO ARROW ARROW VIDEO VIDEO ARROWARROW VIDEO VIDEO ARROW ARROW VIDEO VIDEO ARROWARROW VIDEO VIDEO ARROW ARROW VIDEO VIDEO ARROWARROW VIDEO VIDEO ARROW ARROW VIDEO VIDEO ARROWARROW VIDEO VIDEO ARROW ARROW VIDEO VIDEO ARROWARROW VIDEO VIDEO ARROW ARROW VIDEO VIDEO VIDEOVIDEO VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW ARROWARROW VIDEOVIDEO ARROWARROW Blind Beast CONTENTS : A PerverseCast Cinema and ofCrew the Body (2021) VIDEO Yasuzo Masumura Filmography VIDEOby Virginie Sélavy ARROW 5 ARROW About the Transfer 7 27 16 ARROWARROW VIDEOVIDEO VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW ARROWARROW VIDEOVIDEO Original Releasealso knownDate: as25 JanuaryARROW 1969 ARROW Mōjū The Warehouse 盲獣 VIDEOVIDEO ARROWARROW Eiji Funakoshi ARROWNoriko Mako Sengoku Midori ARROWCAST Michio, the sculptor ProducedFrom by the originalDirected story by by Yasuzō Rampo Masumura Edogawa Screenplay by Yoshio Shirasaka Aki, the model CREW Michio’s mother Director of Photography Setsuo Kobayashi EditedHiroaki by Tatsuji Fujii Nakashizu and Kazumasa Nakano Art DirectionMusic by by Hikaru Shigeo Hayashi Mano 5 VIDEOVIDEO VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW ARROWARROW VIDEOVIDEO A PERVERSE CINEMA OF THE BODY ARROWARROW This essay contains spoilers and is best read after watchingBLIND the film. BEAST: ne of the most remarkable directors of postwar Japan, Yasuzō Masumura O VIDEOmade a cinema of astonishing intensity focused on desire and a complex the individual,idea of butperversity. also to theIn Masumura’s state, the social world, structure perversity and may the apply ideologies not simply that to underpin them. A student of law duringVIDEO the wartime, Masumuraby Virginie was part Sélavy of a ARROW generation of cultural figures who had directly experienced the disastrous effects of Japan’s nationalistic doctrine and aggressive promotion of collective identity. ARROWMany of his films depict individuals at odds with the national or corporate entity they are relentlessly forced to conform with. What casts those individuals out of social norms is some form of excessive desire. This desire can be erotic as in Seisaku’s Wife as in Black Test Car ( (1964) and is pitted against the ingrained perversity of the oppressive, hypocritical social order. The outcome is never straightforward: although collective perversity is always (Seisaku no tsuma excoriated,ARROW individual perversity in Masumura’s cinema is a double-edged sword, Irezumi often simultaneously emboldening and degrading,ARROW liberating and destructive. Kuro no tesuto kā (1966). In those films, the perversity of deviant individual desire , 1965) and , 1962), or a combination of the two as in Red Angel (Akai tenshi , 1966), creative 7 Manji VIDEOVIDEO VIDEOVIDEO ARROWARROW VIDEOVIDEO ARROWARROW VIDEOVIDEO VIDEOVIDEO ThoseARROW themes find their most spectacular expression in Blind Beast 1969, Masumura’s feverish chamberARROW piece brings together creative and erotic desire into a supremely perverse tale of art and sadomasochism. Based on a story VIDEO by Edogawa Rampo that was first published in the early 1930s, on the aberrant passion that develops between Michio, a blind sculptor, and Aki, VIDEOthe beautiful model he kidnaps. The outlandish sexual extremes depicted in the ARROW film are typical of the ARROW the condensation of the original story and its visual treatment purposefully shift VIDEO the focus on to the central theme of Masumura’s cinema: the uncontrollable force VIDEO of desire and the transgression of boundaries to which it leads. Offering the deepest exploration of the correlation between artistic and sexual desire toARROW be found in Masumura’s work, ARROW society which nonetheless offers a devastating response to the outside world. VIDEO ero-guro From its very first images, VIDEO monochrome photographs of female nudes in attitudes of subjection (erotic-grotesque) or constricted style developed by Rampo. But ARROW by chains are first on the screen. These elegantly edgy photographs are hanging in VIDEO ARROWa gallery as part of an exhibition titled “LesBlind fleurs Beast du createsmal—Réhabilitation a carnal space par ofmon creation cut off from VIDEO sexe.” Although these photographs are attributed to “Mr. Yamana” in the narrative, this was filmed at a 1968 exhibition by underground photographer Akira Suzuki ARROW (his name appears underneath the exhibition title at the gallery entrance). Mako . Released in ARROW Midori, the actress who plays Aki in the film, was one of Suzuki’s models for these Blind Beast centers photographs. With this disorientating multi-layered opening,Blind Blind Beast Beast ushersVIDEO introduces us straight into an artistic space: its hinterland of art and bondage, hinting at their intimate interconnection, and VIDEO blurringARROW the line between film world and artistic space, real or imagined. Blind Beast consists of little else butARROW artistic space: Suzuki’s exhibition serves as a prelude to Michio’s studio, in which most of the story is set. The film has little interest for anything that takes place outside of that space. Only the bare minimum ARROWARROW VIDEOVIDEO ARROWARROW VIDEO 8 VIDEO ARROWARROW ARROWARROW VIDEOVIDEO VIDEOVIDEO is kept from Rampo’s story in order toARROW set up the central dramatic situation: a brief in the dark room. This is central to her change of heart: she accepts his touch, both scene shows Michio, posing as a masseur, abducting Aki withARROW the help of his mother as his model and as his lover, because she becomes convinced by his ideas on art. to the warehouse where he lives. Over the course of the film, only a few shots of the Her disgust turns to affection once he has finished his sculpture of her. The sado- warehouse’s exterior momentarily take us outside of Michio’s suffocating studio. masochistic relationship that develops between them is therefore an aesthetic Nested in the isolated warehouse, the studio is an astounding cave-like room, relationship for herVIDEO too. Throughout the film, she too is guided by a desire to make nightmarish and enthralling in equal measure. Out of the rounded walls protrude great art: she mentions repeatedly thatVIDEO she only accepted to pose nude for “Mr. giant casts of body parts, eyes, lips, noses, breasts, and limbs. In the middle of the Yamana” because of her admiration for his talent. For Aki as much as for Michio, room lie two colossal figures. The irregular, soft organic shapeARROW of the studio does the sensual quest that they embark upon together is inextricably artistic and erotic. not seem to make architectural sense within the hard-edged structure that encasesARROW it: it isVIDEO not a realistic space, but rather the space of obsessive desire. From the moment she begins to enjoy, rather than suffer, Michio’s contact, Aki takes VIDEO the lead: she becomes not only a full participant in the artistic-erotic project, but Within these confines, the sado-masochistic relationship that develops between she begins to direct it onto uncharted territory.VIDEO Michio’s new art of touch does not Michio and Aki is as much artistic as it is erotic. Initially, Michio’s intentions are not seem that innovative: after all, is that not what sculpture is?VIDEO The piece he creates, avowedly sexual. Despite insistently fondling Aki’s breasts in the massage scene,ARROW modelled on Aki, is hardly ground-breaking. But what he is achingly pleading for is Michio’s desire for her is passionately aesthetic: he wants to sculpt Aki’s body to a differentARROW kind of sensual, tactile art, and it is Aki, once she has understood his create a new art of touch, andVIDEO he plans to release her once his project is completed. ambition, who leads him to realise it. As Aki pushes Michio to cross more erotic There is a certain naivety about him, even as he VIDEOabducts and coerces in the name lines, experimenting with cutting, biting, and whipping each other, the artistic ARROWof art. As in many Masumura films, the central character’s intense passion, born of project becomes internalised. It is Aki who now takes Michio on an untravelled ARROWdespair and loneliness, and leading him down an inexorably tragic course, is observed aesthetic path: their erotic-creative quest culminates not inVIDEO the completion of with understanding. It is only later that his subjugation of Aki becomes sexual: after a Michio’s sculpture, but in an excess of sensory bliss. The climax of their search for aVIDEO catastrophically failed escape attempt, he rapes her. This shift establishes a parallel new artformARROW breaks with the traditional conception of what an artwork is: here it is between lust and creative urge: both are forms of desire, and as such, both are not an external object, but anARROW ecstatic internal experience. That sensorial extreme inherently violent as they seek to forcefully mould an VIDEOexternal object to their designs. not only supersedes the sculpture, but seems to cause its destruction, marking VIDEO the end of a process that abolishes the demarcation between subject and object, ARROWThe imbalanced interaction between male subject and female object of creative-