Audience’s critique may be inclined to express that fragments of the past and of the present in “Eros Plus Massacre” are pieced together in a certain manner that guides comprehension of a twist. It appears quite a venture for Yoshida to have radicalized cinematographic aspects which might have otherwise caused misleading interpretation when the broken parts fail to be ascertained as a whole. Yoshida’s decentralized approach in this project explores the nature of sexuality as it portrays the core function in designating characters according to gender traits and the appeal to feminism wears an unusual tone and attitude. “Eros Plus Massacre”, nevertheless, concretely illustrates scenes where a woman normally falls as man’s object of desire. Between Eiko and her part-time lover whose sensual moment is caught by the intruding friend and colleague Wada as well as between the same man and the other desperate woman in another scene at a spot in hotel, there occurs an affair of nothing more than physical worth in which undertones of eroticism manifest through moderate visual elements of dynamic nudity. It may be inferred herein that the principle of Sakae Osugi regarding exaggerated independence in a culture that permits a number of liberated sex relations is carried from his conservative era to a modern age of over forty years later. By a sequence of past-present juxtapositions which had been altogether enhanced by peculiar camera angles and transitions, Yoshida managed to bring across the significance of understanding time as an element from which to compare views, especially how such have evolved as whether they appear subject to change or unaltered due to a couple of similarities between the past and the present. The scenario at the top of the cliff when Eiko and Wada station themselves back to back on a wooden cross as though to assume a position that depicts punishment or captivity may be perceived to have figuratively coincided with the thematic situation of Osugi and family in a pyramidal structure that resembles a platform for execution. In particular, when Wada and Eiko are led to an academic recollection among the archives of Japanese history, the critical point in the life of Osugi and feminist wife Noe Ito is projected in a momentous setting with their son who would eventually yield to the misfortune of being massacred. Through this and the other picture with the cross, juxtaposed, one may necessarily observe the close association in the plainness of lighting effect yet the contrast heavily rests within the impact of pondering between the soaring freedom of youth that have just begun a philosophical journey and the subsiding conquest of an anarchist whose liberal political way of living is fated to cease. While Yoshida’s determination had been evident in communicating the beauty of narrative of “Eros Plus Massacre” via his revolutionary art as rendered in the experimental cinematography of his time, he equivalently resolved to settle vital consideration of the technique in which he employed imageries filled with metaphors or symbolism in order to improve the look and feel of the movie’s chief subject despite the absence of colors other than black and white. Amidst the general
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Critical Analysis of the Film “Eros Plus Massacre (1969)” by Yoshishige Yoshida In the classic tradition of Japanese cinematography, film viewers had become accustomed to epic and genres for which narratives bore smooth continuity. By the time the New Wave movement in cinema came, directors like Yoshishige Yoshida had seen the advantage of revolutionizing Japanese motion picture into a form of nonconventional art in the late 60s and this led to the creation of Yoshida’s “Eros Plus Massacre” via fragmented narrative technique…
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