The angura diva: Toshio Matsumoto's dialectics of perception. Photodynamism and affect in Funeral Parade of Roses
2014; Taylor & Francis; Volume: 6; Issue: 1 Linguagem: Inglês
10.1080/17564905.2014.929409
ISSN1756-4913
Autores Tópico(s)Asian Culture and Media Studies
ResumoThis article examines the diva as a site of conflict, a film image that represents a rupture in the status quo and that questions the boundaries of socially constructed identities. Taking as its inspiration film and art historian Angela Dalle Vacche's interpretation of the modern, 'anti-conformist' Italian film diva rather than a model of classical Hollywood stardom and the diva as spectacle, the article argues that the film diva can be said to represent the crisis and ambiguity at the heart of a global social modernization. It also discusses various ways in which affect – the tension generated by the central character's indeterminate identity and pathos – can be presented visually. Matsumoto Toshio's 1969 angura film Bara no sōretsu/Funeral Parade of Roses presents Ikehata Shin'nosuke, better known as Peter, in the role of Eddie, a transvestite who performs as a drag queen in a notorious Shinjuku gay bar named Genet. Matsumoto's film is a fusion of experimental avant-garde self-reflexivity and psychological drama that deliberately aims to produce a defamiliarizing portrait of 1960s youth culture in Japan. Drawing on Matsumoto's art historical writing and Anton Giulio Bragaglia's 1911 manifesto on dynamism in the photographic image, the article asks whether the subversive metamorphosis enacted in Funeral Parade of Roses can be understood better via recourse to aesthetic theories on affective or so-called indeterminate images.
Referência(s)