“I would like to be able to take hold of the past and make it stand still so that I can examine it from different angles.” Per Desser, Shinoda’s “most significant authorial characteristic, the comparison between traditionalism and modernism (in terms of both social norms and aesthetic practice)” is only a playing of worldviews against each other.ĭealt with films in all colors, shapes, and settings, and unable to discern an auteurist imprint beyond a hodgepodge of motifs-historical backdrops at moments of transition occasional theatricality street processionals a nihilistic critique of Japanese imperialism-American critics, sensing that “in pure visual and sound experience his films impress with lush flamboyance,” have logically posited the means as an end. “ not interested in utopian ideals,” Shinoda has said, more simply. “Never as radical as Oshima, nor as consistent as Yoshida, and certainly never as satirical as Imamura, Shinoda, on the other hand, is unquestionably the most versatile of the New Wave directors,” offers David Desser in his book Eros Plus Massacre, even if versatility, a salaryman’s virtue, is not quite a viewpoint. This is their basic subject.” - Shinoda MasahiroĬircumstance is a subject, but unlike personal psychology or the struggle for individualism, it doesn’t offer a particular perspective: just the material for one. Japanese films are interested in what surrounds the human being. European films are based upon human psychology, American films upon action and the struggles of human beings, and Japanese films upon circumstance. “I must categorize the films of the world into three distinct types. I have never believed that culture is something one can ‘make.’” “If we abandon the gods, what must take their place in order to support the center of the culture?… It is difficult to decide what will take the place of the gods.
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