The Filmmaker Overview Essay
http://www.girishshambu.com/blog/2008...
excerpt
haring formal and social audacity, a brilliant ability to exploit the widescreen format, a rejection of the refined and self-sacrificing tenor of traditional Japanese cinema, a propensity for mixing fiction and reality, and certain key themes – sex and criminality, the abuse and resilience of women, incest, the social fissures of postwar Japan, the aggravated acts of outcasts in a tightly battened monoculture – Imamura and Oshima nevertheless can be construed as contraries, if not opposites. (It would be illuminating to pair certain of their films: Imamura’s A Man Vanishes with Oshima’s The Man Who Left His Will on Film; Pigs and Battleships with The Sun’s Burial; Vengeance Is Mine with Violence at Noon.) Where Imamura made defiantly “messy” and “juicy” (his preferred terms) films that celebrated the irrational, the instinctual, the carnal, squalid, violent, and superstitious life of Japan’s underclass, Oshima’s films are primarily ideational, probing, and controlled even when anarchic
Oshima, some of his films
http://filmref.com/directors/dirpages...
Nagisa Oshima presents a searing and provocative examination of the socially enabled, self-perpetuating interrelation between poverty and crime in A Town of Love and Hope. As a novice filmmaker, Oshima worked with members of the cast and crew of veteran director, Keisuke Kinoshita, whose 1950s sentimental "women's" pictures for Shochiku's Ofuna Studio embodied the Ofuna flavor, which Audie Bock describes as "subscribing to myths of human goodness, romantic love, and maternal righteousness" in Japanese Film Directors. However, Oshima would subvert the familiar elements of the Ofuna melodrama (ushering an artistic direction that encouraged non-traditonal creativity and experimentation that would define the Ofuna new wave) with dispassionate and muted expression (particularly evident in Masao and Yasuo's seeming emotional detachment) and character framing in predominantly medium and long shots that create a sense of distance and objectivity
The Fashion Informer
http://thefashioninformer.typepad.com...
The Fashion Informer is written by a New York-based fashion/entertainment journalist whose articles have appeared in the New York Times, UK Vogue.com, Time Out, Surface, Elle, Allure, Glamour, Self, FWD, Travel + Leisure, Business Traveler, PREEN, the New York Post, FQ, Chicago Social, Angeleno, Coast, Riviera, In Style, TV Guide, Mademoiselle, Parade and many other national publications.
A former Contributing Editor at Fashion Wire Daily, she has also published seven books on various topics.
In addition to writing and editing The Fashion Informer, she is also the New York Correspondent for VOGUE.COM UK and contributes to numerous print publications.
Illustration by Lana Frankel at www.lanafrankel.com
Remix Theory
http://remixtheory.net/
Remix Theory is an online resource by Eduardo Navas that offers some of his research on Remix.
Navas focuses on Remix itself as opposed to Remix Culture. In this site you will find a brief definition of Remix, which is examined more extensively in essays that will be added to this website as they become available.
Remix Theory is not meant to function on a daily basis. It is a resource updated periodically, according to the flow of research. It does not focus on the latest information, but on relevant material to the history of Remix, some which may have been published years ago. The site contains material that is obtained from other online sources, with the proper reference. The content of the site consists of reviews, articles, projects and images relevant to Remix. The site also features texts and projects by Eduardo Navas.
Remix Theory is designed to move towards a remix of itself, by recombining much of the material that is archived to put to test the possibilities of Remix. This will become transparent as the database grows, and specific projects are developed. The site is designed to host, archive and promote projects which explore the current possibilities of Remix online and offline; it is prepared to become a repository of collaborations with different people and institutions.
To learn more about the interdisciplinary practice of Eduardo Navas, Please visit http://navasse.net
