362:, a new filmic theatricality. Spatial restriction, lighting, color, and gesture figure in it, but most importantly it is the way spoken lines and confrontations are ordered by camera movement and shot, so that "the cinema becomes a device for redefining theatrical language." Dana Polan sees the film as part of a broader element of Ōshima's cinema in which political meaning emerges "as process between screen and spectator." For example, in the ten-minute opening shot, camera movement and the symmetry of the wedding ceremony suggests a political stability threatened by the fog outside and the tracking shot that introduces the uninvited guests- destabilizing both composition and ideological certainty. More than just narratively showing political process, Ōshima's filmic technique demands the spectator reflect on the political and personal implications of form and character.
337:, represented in the film by the dogmatic leadership of Nakayama. Although resistance to the treaty failed in 1950, a new generation of student activists in 1960 challenged its renewal with massive street demonstrations, which once again ended in failure. This is Reiko's generation, and the demonstrations covered by Nozawa. The Zengakuren of this period tried to assert its independence from the Japanese Communist Party, and subsequently fractured into several organizations that continued to retain the name.
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orthodoxy. Director Nagisa Ōshima clearly was critical of
Stalinism and the failure of political reflection. This pessimistic assessment pervades the film (Ōshima had been involved in, and sympathized with, student movements himself), especially in the portrayal of personal motivations in political movements.
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of his bold film. In this response, he expressed faith in the potential of the audience to receive controversial political films, taking issue with the political repression of the film industry and critics. Ōshima's claimed that "my film is the weapon of the people's struggle," and, of the resistance
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rhetoric, tries to make sense of political defeat and the reconciliation of these two generations. Although the marriage of Nozawa and Reiko seems to suggest the possibility of reconciliation, Nakayama looms large as the imposition of forced forgetting and the denial of reflection in favor of Party
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functionary, is castigated for his role in the tragedy and his possession of Misako, a much desired female student. Other forgotten comrades from 1950 and fresh from the bloody demonstrations of 1960 are invoked as political and personal challenges. In the end, night and fog envelops the guests as
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against the US-Japan
Security Treaty, uninvited guests interrupt the wedding ceremony between Nozawa, a journalist and former student radical of the 1950s, and Reiko, a current activist. They accuse the couple and assembled guests of forgetting their political commitments, invoking a tortured
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exploration of unresolved conflicts of a decade ago, when they were swept up in the student demonstrations. In flashbacks, personal and political wounds are reopened, focused on Nozawa's subjective experiences in both 1950 and 1960. Two characters, one dead by suicide, the other now a
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In 1948 the
Zengakuren was formed, mobilizing Japanese students against the first Anpo treaty with the United States. This is the time period detailed in flashbacks, during which Nozawa, Nakayama, Misako, Takao, and Takumi were active. At the time, the Zengakuren was dominated by the
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politician, are the subject of greatest scrutiny. The memory of Takao, a young student who committed suicide after letting a "spy" free, is reconstructed as a criticism of the authoritarian leadership of the
Zengakuren of 1950. Nakayawa, former student leader now
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they stand immobile to the stilted speech of the unchanged
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Polan, Dana. 1983. "Politics as
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The Films of Oshima Nagisa: Images of a Japanese Iconoclast
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217:Anpo treaty
159:107 minutes
61:Tomio Ikeda
58:Produced by
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397:. kotobank
395:"日本の夜と霧とは"
381:References
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287:Production
269:as Utagawa
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205:drama film
142:1960-10-09
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276:Kei Satō
175:Japanese
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115:Shochiku
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343:Marxist
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1274:(2007)
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1258:(1972)
1250:(1960)
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260:as Ōta
190:日本の夜と霧
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167:Japan
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457:2023
429:2023
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