Tsuburekakatta migime no tame ni
Two series of images, chaotically showcasing Japan in the '60s, showing images of student riots, ads and pop culture.Two series of images, chaotically showcasing Japan in the '60s, showing images of student riots, ads and pop culture.Two series of images, chaotically showcasing Japan in the '60s, showing images of student riots, ads and pop culture.
A helter skelter of late 60's counter-culture psychedelia played in two separate screens, images of student riots, drag queens getting ready for a night in town, fires, juxtaposed against swinging hippies, Japanese women casually arranging their wardrobe, people commuting to work, and various cartoon strips, all this played over a collage of news report snippets telling about the Communist threat, radio recordings, Rolling Stones, Japanese pop tunes, and Hitler speeches, while flickering images of fires and difigured babies flash over the screen now and again. It's all pretty anarchic and adds up to no concrete narrative but it all makes sense in a purely audiovisual way (hence cinematic, oddly enough for a film made up mostly of found footage), the overarching feeling and atmosphere Matsumoto is trying to communicate emerging from the patchwork of cut-up images and sound crystal clear.
As further testament to the cultural embargo of sorts that makes even high profile Japanese directors like Shinoda, Suzuki, Gosha, and Kobayashi still relatively unknown in the west, this ought by all means to be as much a cult item representative of its time, almost audaciously ahead of it and fresh and modern, as anything Kenneth Anger ever did. I suspect the day Japanese cinema receives its proper due is the day many the cinematic status quo and history as we know it will need to be thoroughly devised.
- Jul 10, 2009