365:, Yoshida, by emphasising effect and visual style and denying the viewer's expectations, attempts to communicate to the audience that what they see on the screen are fabrications which need to be completed by their interpretation. Yoshida stated in an interview: "I adopted a style that brings Osugi back into the contemporary period. Ultimately, the frames of past and present completely disappear, in this way, there is the sense that contemporary young women and Noe Itō are able to converse. Therefore, this is one way in which I challenge history."
378:, Yoshida explained: "In making this film, I wanted to transform the legend of Osugi by means of the imaginary. Sure enough, Osugi was oppressed by the power of the state in his political activities. But most of all, he spoke of free love, which has the power to destroy the monogamous structure, then the family, and finally the state. And it was this very escalation that the state could not allow. It was because of this crime of the imaginary (or "imaginary crime") that the state massacred Osugi. Osugi was someone who envisioned a future."
278:
The film begins with Eiko, a student, learning about Noe Itō's life by interviewing her daughter, Mako. Eiko is shown to believe in Ōsugi's principles of free love. She is also connected with an underground prostitution ring and is questioned by a police inspector. Wada, another student, spends his
360:
screens accentuate the fusion of reality and fiction and the illusionary nature of truth. Through the rejection of a linear narrative, the films depicts Itō as derived from Eiko's imagination. Mathieu Capel writes, " does the past exist beyond the words that state and organize it? Is what we call
332:
The film was first released in France in a version running three and a half hours. Due to Ichiko
Kamichika's protests against what she saw as a violation of privacy, threatening to sue Yoshida, the film was shortened to three hours for the Japanese release and Kamichika's name changed to Ituko
274:
who attempts to kill him in a tea house in 1916. Parallel to the telling of Ōsugi's life, two students (Eiko and Wada) do research on the political theories and ideas of free love that he upheld. Some of the characters from the past and from the present meet and engage the themes of the film.
282:
Their story is interwoven with the retelling of Ōsugi's later years and death. The scene where Itsuko tries to take Ōsugi's life is retold several times with differing results. The 1920s scenes in general follow a different pace than the 1960s scenes, both musically and stylistically.
31:
286:
In the final scene, Eiko's lover, a film director, commits suicide by hanging himself with a length of film. Eiko and Wada gather all of the 1920s characters and take a group picture of them. The two then leave the building.
1167:
732:
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Masaoka. Kamichika was still adamant to stop the release, and sued in what became known as the "Eros Plus
Massacre Case". The court found in favor of Yoshida.
960:
1197:
356:, Yoshida interweaves the two levels of narrated time, while visual elements such as the repeated use of reflections of the characters or collapsing
693:
279:
time philosophizing with Eiko and playing with fire. The two sometimes engage in re-enactments of lives of famous revolutionaries and martyrs.
361:"world" anything but a tracery of "world views"? Then, how unlikely would it be for Itō Noe and Eiko to meet in a contemporary setting?" For
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Although the film is a biography of Ōsugi, Yoshida states that he didn't focus on Ōsugi as a historical character
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box set. A DVD version of the original cut had previously been released in Japan in 2005.
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The story tells of Ōsugi's relationship with three women: Hori Yasuko, his wife;
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Buehrer, Beverley (1990). "Eros Plus
Massacre (1969) Erosu purasu gyakusatsu".
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Politics, Porn and
Protest: Japanese Avant-Garde Cinema in the 1960s and 1970s
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in 2009 as part of retrospectives on
Yoshida's work. It was included in the
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632:"Private Lives and Public Eyes: Privacy in the United States and Japan"
619:. Vol. 6. University of Florida College of Law. 1990. p. 156.
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Both the
Japanese theatrical cut and the original cut were released by
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Eros Plus
Massacre: An Introduction to the Japanese New Wave Cinema
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Eros Plus
Massacre: An Introduction to the Japanese New Wave Cinema
405:'s "The best Japanese film of every year – from 1925 to now" list.
394:
357:
595:. Jefferson, North Carolina, and London: McFarland. p. 212.
885:
To the
Distant Observer: Form and Meaning in the Japanese Cinema
238:, who was murdered by the Japanese military police in 1923 (see
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511:"Review: Kiju Yoshida: Love + Anarchism on Arrow Video Blu-ray"
694:"Notes on the Cinema Stylographer: Eros Plus Massacre, 1969"
676:
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539:"The best Japanese film of every year – from 1925 to now"
242:). It is the first film in a loose trilogy, followed by
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Japanese Films: A Filmography and
Commentary, 1921-1989
883:(1979). "Post-Scriptum". In Annette Michelson (ed.).
654:"Eros + Gyakusatsu (Eros Plus Massacre) Long Version"
570:. Fairleigh Dickinson University Press. p. 198.
568:
Cinema East: A Critical Study of Major Japanese Films
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775:Bonitzer, Pascal; Delahaye, Michel (October 1970).
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786:(224). Translated by Gonzalez, Felix.
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1183:Films directed by Yoshishige Yoshida
636:Florida Journal of International Law
617:Florida Journal of International Law
227:, who wrote it in cooperation with
172:167 mins. (Japanese theatrical cut)
340:on Blu-ray in 2017 as part of the
14:
509:Wilkins, Budd (30 March 2017).
1198:Films set in the Taishō period
1:
323:Daijirō Harada as Kiwamu Wada
231:. The film is a biography of
1163:Japanese biographical films
995:Bitter End of a Sweet Night
566:McDonald, Keiko I. (1983).
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320:Toshiko Ii as Eiko Sokutai
893:2027/spo.aaq5060.0001.001
852:Standish, Isolde (2011).
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140:15 October 1969
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1153:1960s biographical films
174:216 mins. (original cut)
441:Japanese Movie Database
211:Erosu purasu gyakusatsu
151:14 March 1970
1203:Films set in the 1960s
1193:Films set in the 1920s
1188:Films set in the 1910s
543:British Film Institute
491:Desser, David (1988).
403:British Film Institute
1173:Films about anarchism
397:, in 2008 and at the
1208:1960s Japanese films
828:Harvard Film Archive
733:"Eros Plus Massacre"
399:Harvard Film Archive
1105:Women in the Mirror
1095:Lumière and Company
630:Rosen, Dan (1990).
354:flashback sequences
216:is a 1969 Japanese
1178:Anarchism in Japan
1035:Affair in the Snow
970:Yoshishige Yoshida
700:on 28 October 2016
303:Toshiyuki Hosokawa
225:Yoshishige Yoshida
93:Motokichi Hasegawa
78:Toshiyuki Hosokawa
63:Yoshishige Yoshida
55:Yoshishige Yoshida
42:Yoshishige Yoshida
16:1970 Japanese film
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824:"Eros + Massacre"
798:"Eros + Massacre"
784:Cahiers du Cinéma
777:"Eros + Massacre"
749:on 30 April 2015.
375:Cahiers du Cinéma
352:Instead of using
315:Etsushi Takahashi
311:as Itsuko Masaoka
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126:Art Theatre Guild
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348:Style and themes
342:Love + Anarchism
268:Ichiko Kamichika
245:Heroic Purgatory
240:Amakasu Incident
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387:Eros + Massacre
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410:David Desser
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317:as Jun Tsuji
297:Mariko Okada
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223:directed by
218:experimental
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196:
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168:Running time
159: (Japan)
85:Kazuko Ineno
74:Mariko Okada
18:
1065:Coup d'État
881:Burch, Noël
804:(in French)
338:Arrow Films
251:Coup d'État
248:(1970) and
236:Sakae Ōsugi
60:Produced by
38:Directed by
1148:1969 films
1142:Categories
1025:The Affair
420:References
221:drama film
155:1970-03-14
144:1969-10-15
109:Production
48:Written by
1075:A Promise
233:anarchist
934:AllMovie
658:CD Japan
470:Kinenote
466:"エロス＋虐殺"
437:"エロス＋虐殺"
272:feminist
254:(1973).
190:Japanese
187:Language
98:Music by
70:Starring
846:Sources
833:17 July
808:17 July
704:6 March
663:17 July
548:17 July
520:16 July
476:16 July
447:16 July
328:Release
264:Noe Itō
179:Country
153: (
142: (
111:company
1109:(2002)
1099:(1995)
1089:(1988)
1079:(1986)
1069:(1973)
1059:(1970)
1049:(1969)
1039:(1968)
1029:(1967)
1019:(1966)
1009:(1962)
999:(1961)
989:(1960)
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862:
642:: 156.
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382:Legacy
370:per se
205:エロス＋虐殺
977:Films
780:(PDF)
747:(PDF)
736:(PDF)
395:Paris
358:shoji
182:Japan
1118:Book
923:IMDb
897:ISBN
860:ISBN
835:2023
810:2023
706:2015
665:2023
597:ISBN
572:ISBN
550:2023
522:2023
478:2023
449:2023
291:Cast
258:Plot
932:at
921:at
889:hdl
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