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Imamura Shohei

This article delves into the unique film style of renowned Japanese director Shohei Imamura, focusing on his use of shot sizes, natural lighting, and the technique of location shooting. Imamura's films often feature long and medium shots, with strategic close-ups to evoke sexual desire, and he employs natural light to enhance realism. The article also discusses the impact of voyeurism in Imamura's work, highlighting how his filming style imitates human observation. Key films such as "The Insect Woman" and "Vengeance Is Mine" exemplify his innovative approach, marrying tension with spontaneity.

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Imamura Shohei

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  1. Imamura Shohei Voyeurism and His Visual Style

  2. Imamura’s Film Style SHOT SIZE • Imamura’s films mainly consist of long and medium shots

  3. Imamura’s Film Style • Occasional close-ups – more impressive • Lower part of the body – sexual desire

  4. Imamura’s Film Style • Natural light in both interior and exterior scenes • Source light - not artificially lit • Lighting in location shooting - shot in available light

  5. Imamura’s Film Style LIGHTING • Effective uses of high contrast of light and shadow - low key lighting

  6. Imamura’s Film Style The Insect Woman (1963) • Shot entirely on location with simultaneous recording → sense of reality and spontaneity

  7. Imamura’s Film Style ‘I decided to give up the convenience of studio shooting and shot The Insect Woman entirely on location. I also abandoned the convenience of post-recording. Actually existing buildings and places were used in this film and dialogue and sound were recoded by wireless microphone. I did not mind if the quality of sound is lousy. I preferred the tension created by the use of wireless microphone, which picked up even the breathing of actors.’

  8. Imamura’s Film Style ‘Location shooting and simultaneous recording are a lot more painful. However, I was sure that we would find a new filming method different from the one we took for granted.’ Imamura ShoheiKinemaJunpo

  9. Imamura’s Film Style Physical limitations of location shooting • INTERIOR SPACE (positioning of cameras and their manoeuverbility; positioning of lights) • EXTERIOR SPACE (dictated by weather conditions; reality that you cannot alter)

  10. Imamura’s Film Style Limitations of simultaneous recording • Inclusion of unnecessary noises • Higher chances of re-take (time-consuming) • Inarticulate and inaudible dialogues Limitations turned to advantages • Reality effects / tension / spontaneity • Greater realism

  11. Imamura and Voyeurism • Film as a voyeuristor scopophiliac art VOYEURISM • A practice in which an individual gains sexual pleasure from seeing other people who are engaging in sexual acts, without clothes, or dressed in whatever other ways the ‘voyeur’ finds appealing; or from observing other people’s private life.

  12. Imamura and Voyeurism • Films about voyeurism or peeping • Alfred Hitchcock’s Rear Window (1954) • A wheelchair-bound photographer discovers a woman suddenly disappears from an apartment across from his, while closely watching the activities of the apartment bloc opposite.

  13. Imamura and Voyeurism • Imamura’s films are not directly about voyeurism. • They make the way in which a voyeur acts (peeping, recording) into a film style. • A hidden (half-hidden) camera follows characters.

  14. Imamura and Voyeurism • The camera placed outside a room or a house records actions which take place inside. • The camera imitates the way in which human eyes look - including limitations in sight.

  15. Imamura and Voyeurism • Intentions of Murders (1964), Pornographer (1966), A Man Vanishes (1967)

  16. Imamura and Voyeurism • Karayuki-san (1975), Vengeance Is Mine (1979), The Eel (1997), Black Rain (1997) • ‘Voyeuristic’ filming style is particularly clear in these films.

  17. Animals, Insects and Men • Frequent insertions of an image of an animalor insect • Equation of animal instinct with human desire; desire for food, survival and regeneration

  18. Imamura’s Film Style • Opposition and indebtedness to Ozu • Orderliness against chaos in film styles • Obsession with camera position • ‘Pillow shots’ • Films after Black Rain - moving towards Ozu

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