Please introduce Japanese film director Seijun Suzuki?

Seijun Suzuki's basic style and characteristics, as well as his important experience in the film industry, have been expounded in another article published by Vientiane, "Sensory World-Traveling in Japan to Reflect Pictures". I won't waste my breath here.

〔2〕

My friend Pang Nu (played by Li Zhaoxing) briefly pointed out susan sontag's classic article Camp Notes in his article Seijun Suzuki, which is the only way to understand the Seijun Suzuki world. Kemp's aesthetic features: artificial, exaggerated and stylized deduction, which can be quoted in Seijun Suzuki's films. Both the performance stage of Seijun Suzuki in "Tokyo Wanderers" (1966) and the western bar in "Tattoo of the First Generation" (1965) fully reflect the director's understanding of layout art and even all visual decoration elements. It coincides with the smell of the camp. These superficial visual style elements are well known and need no further analysis.

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It is a variety of material and spiritual meanings behind Kemp's aesthetics, and I think it will be more enlightening to understand Seijun Suzuki's world. As SUSAN SONTAG pointed out, the smell of Kemp can only appear in the affluent society, or take root in some circles that can experience the psychopathy brought by affluence. The surplus state accompanied by wealth not only refers to the material level, but also includes the cultural and spiritual level. Seijun Suzuki lives in an era of cultural supersaturation with film as the medium. He once mentioned "Elegy of Fighting, 1966" in the article Images at the End of the Century (China Literature, Volume 22, No.8), which seems ambiguous. Faced with this situation, Seijun Suzuki can only bemoan the past movies, which are wrapped around him like maggots, reasonable and difficult to explain.

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But it is precisely because of this cultural saturation that it happens to be the best soil for Kemp's aesthetic growth. Traditional aesthetics pursues the ultimate goal, respects the dignity and seriousness of the upper culture, and takes harmony as the direction. After the baptism of artists in the 20th century (such as Ranbo and Kafka), art can become a depiction of constantly creating contradictions and dealing with spiritual and inner struggles with violence. What Kemp affirmed is only a kind of sensibility that attaches importance to failure, a dramatic expression of experience, which is purely based on aesthetics and does not involve moral judgment. Seijun Suzuki inherited the system of studio directors (compare Yasujirō Ozu's To Matsutake, Kurosawa's To Kurosawa and Mikio Naruse's To Dongbao), and he didn't have the opportunity to show his world with personal affection as the previous generation directors did. But at the same time, no laggards of the same age and age, such as Zhudao, Shohei Imamura, Yoshishige Yoshida and Masahiro Shinoda, competed for the first place in the experiment. In a crack position, Seijun Suzuki abides by his duty as the director of entertainment films produced by Japanese studios and returns to the essence of camp aesthetics-starting from enjoyment and appreciation, rather than judging and evaluating first; It reveals the love for human nature, including the vivid presentation of low-level tastes.

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Most gangster movies in Seijun Suzuki were released in the 1950s and 1960s in the form of two-lens "giveaways"? Live audience. Interestingly, the "model reader" and "experience reader" of the work itself are obviously quite different (for explanation, see umberto Eco's Six Walks in the Fictitious Woods). The "experienced readers" who really appreciate these works in time and space should be those who wander in the alley, right? Healthy people. The director's manipulation of the characters in the film has almost become a parallel mockery of the "experienced readers" in the cinema. Of course, on the surface, the humorous portrayal of heroes in gangster films may be a disrespect for the usual viewing experience of "experienced readers"; But in his bones, he pulled the hero back to the level of Reservoir Dogs, put all kinds of unspeakable quirks and human weaknesses back into the text, and let his works regain the soil of reality. Ironically, it is found that the "model readers" of the works after the changes of the times are actually a group of intellectuals-they really understand and enjoy the camp film aesthetics in Suzuki world. Seijun Suzuki spent his whole life trying to resist any attempt to be institutionalized, and even mocked his own "Wanderer in Kanto" (1963), which contained only some so-called "ideas", and was not as good as the gangster films of other Japanese directors (such as Tai Kato) in essence. "There is no doubt that the Kanto prodigal son does have ideas, but it also reflects that once a work has ideas, you don't have to pay attention to how boring the film is. This is the danger of academic orientation. (Refer to the book "Brand to Thriller: Suzuki's Pure and Thriller Unconscious Movie", ICA, 1994, Suzuki on Suzuki). Unfortunately, fate has always taught him to become attached to intellectuals. 1967, Seijun Suzuki was dismissed by the president of Japan Life Insurance, and a group of people demonstrated to "avenge" him. Fate twists and turns, regardless of personal will.

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Looking back, it is not one-sided to read Seijun Suzuki's works from the perspective of parody or even subversive genre films. In fact, in his early detective films, he still generally followed the genre norms, adding unique skills and ideas to individual shots and scenes to make his works more attractive; From the sound without shadow, 1958) to the youth of the beast, 1963). Later, he added alternative elements to his works, and this process was often repeated: For example, Tokyo Wanderer was ordered by Daily Life because Seijun Suzuki went too far in Tattoo Generation. The deeper consideration is that Seijun Suzuki's banter about this genre itself is essentially the same as Bakhtin's concept of public square. The norm of traditional gangster films is centripetal force, while Seijun Suzuki's non-standard elements, such as a large number of primary colors (such as "Body Gate" and "Tokyo Wanderer"), unprovoked strong winds (the story of Spring Girl and Carmen in Hanoi) and unconventional seasonal changes (Tokyo Wanderer), all condense into a centrifugal force. Centrifugal force is a challenge to centripetal force, but it is by no means for subversion and substitution, but enriches the original order and embodies a spirit of progressive but certain coexistence. In this sense, Seijun Suzuki's works in daily life are different from those of Japanese New Wave directors. The latter tried to destroy the organizational system and establish a new order, which was essentially different from Seijun Suzuki's attitude. In a word, the new wave in Japan is another attempt to develop and celebrate elite culture at full speed; Seijun Suzuki pays attention to the dialogue between elite culture and popular culture (note that it is by no means anti-elite culture), which coincides with the spirit of post-modernism theory.

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Perhaps the laughter in Seijun Suzuki's works is more telling. Ian Myanmar believes that laughter in Seijun Suzuki's films is a way to cope with the fear of violence with the eccentric imagination of a genre filmmaker. It provides ritual peace. "(same as above, quoted from ICA. He happened to understand Seijun Suzuki's smile only superficially. In fact, the laughter in Seijun Suzuki's works has the fuzziness and duality of laughter in Bakhtin's carnival theory. In the "carnival", laughter has both ridicule and banter, joy and calm, and praise and criticism are one; SHISHIDO JO is the main basis for Seijun Suzuki to express the ambiguity of laughter. Seijun Suzuki's idol, Xuehu Yuanbao, looks ugly and obscene compared with the popular youth idols (such as Ishigaki Seijiro, Akira Kobayashi, Tetsuya Watari and even Hideki Takahashi). But he often appears as a "wise man" in his works. His silent laughter became the only clue left by the murderer. Detective Bureau 2-3: Go to hell, asshole! , 1963) and "Youth of the Beast" are both full of laughter to enhance the pleasure by fighting with opponents; Brand killing, 1967) is more complicated. In the competition with the number one killer, happiness and ridicule (even to oneself) coexist in laughter, and face the situation of playing chess in the designated game calmly. In other words, the cave owner's smile is constantly satirizing his opponents (opponents on the screen and audience off the screen), and he also fully enjoys the pleasure and relaxation of success (even if it is only short-lived). The hero he plays (whether loyal or treacherous) often enjoys facing the challenges of reality and seeking pleasure from the game-the hidden clue is that the "wise men" (elites) are fully involved in the life of popular culture, which always leads to dialogue rather than confrontation.

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Susan sontag divided the camp into naive camp and deliberate camp: the former is unintentional, but the trees are shaded (such as craftsmen of the New Art School); The latter deliberately weakened the power of the camp. Of course, there are deliberate elements in Seijun Suzuki's camp; However, in the process of camping, his strength was not affected. I think it's because he has the axis element of the camp: seriousness. His seriousness about frivolity, failure, immorality and enjoyment is naturally not shown in a formal way. As I said, Seijun Suzuki expanded the language and grammar of police films, and when he heard it, he would laugh and gag. However, because everything is dialectical unity, Seijun Suzuki's film world is really a kind of "sweet cynicism".

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The deeper paradox is that Seijun Suzuki established the aesthetic order of the king of camp movies with gangster movies, and vividly manipulated this masculine world with his game pen and ink and banter mentality; But at the same time, soft pornography can be used to pay tribute to women, and the form that has been used to exploit women can be injected into new life, among which Yumiko Nogawa is an important pawn to convey his feelings. His works in this field include Naked Age (1959), All Things Are Unhappy (1960), The Door of the Body (1964) and The Story of a Spring Girl. Among them, the sexual scenes are generally handled and never satisfy the audience; Among them, The Gate of Body is famous, which is the second adaptation in history. As early as 1948, Mumaye-Chino Zhenghong had adapted Taijiro Tamura's masterpiece. In the same year, Kenji Mizoguchi also published the novel Women in the Night with prostitutes as the theme (1948). The two works encounter differences, the former can hardly be copied, but the latter is famous in history; Seijun Suzuki's remake in 1964 didn't mean to rehabilitate his case. More importantly, Seijun Suzuki broke the old and conservative tradition of Japanese movies; Women should not enjoy sex. In "The Door to the Body", Yumiko Nogawa assumes the responsibility of happiness under the condition of complete autonomy (he has seen the sufferings of his predecessors before). Seijun Suzuki divided the four prostitutes into four colors (red, yellow, green and blue), among which green dominated the Maya dress played by Yumiko Nogawa-and green is the representative of peace in the symbolic system of Seijun Suzuki.

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Camp aesthetics tends to depoliticize, and Seijun Suzuki is basically no exception; Only Biography of Spring Girl and Elegy of Violence have more political reading meaning, and also show distrust of the Japanese imperial road. Biography of the Spring Girl leads to the question of loyalty to the country by deserting soldiers. As a result, the soldier played by Tamio Kawaji chose the foolish loyalty and didn't get a good result. On the one hand, Biography of a Spring Girl strongly criticized the hypocrisy of militarism; At the same time, through the transposition of men and women, Yumiko Nogawa highlighted that women are heroes in the war. However, the political message in Elegy of Violence is not as obvious as that in Biography of a Spring Girl. The script of Elegy of Violence written by another famous Japanese director, Jin Teng prodigy, was originally like a work depicting youth, violence and sex. KIROKU, played by Hideki Takahashi, secretly loves Michiko; , the daughter of the host family; His physical sexual desire has nowhere to vent, and it is transformed into a fist to make up for it. His pure love for Michiko is scattered, which is actually a parallel reflection of the beautiful vision of violence and power. At the end of the film, Keoku's admiration for MISA, a haiku teacher, laid the groundwork. MISA was originally a Japanese revolutionary theorist KITA· Igi. KIROKU's admiration for him only satisfies the fantasy of sex and power at the same time: North Ikki is not only the idol of young soldiers, but also has an affair with beautiful waitresses in small towns; Sex and power are perfectly unified in him. Unfortunately, both KIROKU and Michiko died in vain, which just shows that his desire for power is also an illusory imagination and will eventually end in betrayal. In order to understand the meaning of the film, we must explain North Ikki. Northern Ikki is a theorist supported by the younger generation of officers (1883- 1937). As early as 19 19, he published the Outline of Japan's Reform Act, advocating that the government nationalize everything. The goal is not to pursue productism, but to consolidate the foundation of national policy and serve the emperor. He had a high life and planned the famous February 26th Incident in 1936, encouraging the royal family to send officers to carry out an armed coup, demanding the killing of a bunch of ministers and establishing a military dictatorship for the emperor. Unfortunately, without the approval of the emperor, he was ordered to suppress the coup three days later, and North Ikki was sentenced to death as the head of state. In fact, this incident was later remake by Yoshida into a military law (1973), which became the inspiration he got from the carnage of lust (1969). The end of the trilogy. The biggest revelation of the whole February 26th incident is that North Ikki felt betrayed by the Emperor because he didn't support the uprising in the name of the Emperor. And the young officer also thinks that he was betrayed by North Korea because he didn't realize the idealism he preached. As for the last scene of Seijun Suzuki's Elegy of Violence, it implies that KIROKU will go to Beijing to follow North Korea, which not only indicates his future tragic ending, but also exposes the end that his boyhood dream was eroded by the hypocrisy and political goals of adults. Elegy of violence-including the elegy that he died before he could conquer.

Seijun Suzuki ()

1923 was born in Tokyo on May 24th. After graduating from high school in Aomori Prefecture, he was admitted to the newly established film department of Kamakura College, and later joined Matsutake as the deputy director. It was not until 1954 that he switched to his daily work and launched an amazing artificial illusion aesthetics. Unfortunately, in 1968, the then president of Rishou, Horizo, thought that Seijun Suzuki had just made some "incomprehensible works" and dismissed him. After a large-scale demonstration in the cultural circles, Xizi agreed to apologize and make compensation. Stepping into the 1980s, Seijun Suzuki started the creation of "Dazheng Trilogy" (Song of Wandering Wanderers, Sunset, Dream II), and showed his dream world wholeheartedly.

Chronology of Seijun Suzuki's film works

1956 "A toast to Hong Kong. Victory is in my hands "(Harbour toast: Victory lies in.

In our hands)

The pure emotion of the ocean.

Satan's town

1957 "Floating Grass Inn"

Eight hours of terror.

Naked and guns.

1958 beauty of the underworld

"Spring never comes"

Young breasts (young breasts)

1959 "sound without shadow"

Love letter (love letter)

A passport to darkness.

Naked Age (Naked Age)

1960 aim at the police car

The sleep of the beast.

Secret zero line

Everything will go wrong.

"Go to hell! Rogue group "(fighting juvenile offenders).

Youth wind group crossing.

Yamaguchi)

196 1 Tokyo knight

Big boss who doesn't need guns.

A man with a shotgun.

Blood-red water in the passage.

"Millions of dollars smashed and robbed"

1962 juvenile gangs

Who bet on me to win.

1963 "Dragon and Snake for hegemony" (the deciding game 23. Go to hell, asshole! )

The youth of the beast.

That bastard

KANDO rover

Brand killing

1964 "Flowers and Furious Waves"

The door of the body.

Our blood doesn't allow this.

1965 the story of a prostitute

The story of an illegitimate child.

A bad star)

A generation of tattoos

1966 Carmen from Sichuan

Tokyo drifter

Battle elegy

Petite histoire un peu triste

1980 rogue song (ZIGEUNERWEISEN)

198 1 heat haze theater

1985 "Capone's Tears"

199 1 Dream II (YUMEJI)