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Kitano Takeshi

Kitano Takeshi. Mannerist Aestheticism. Mannerist Style. Mannerism - the aesthetic style that uses exaggerated and artificial (as opposed to naturalistic) expression to produce drama, tension, exuberance and grandeur in painting, and sculpture.

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Kitano Takeshi

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  1. Kitano Takeshi Mannerist Aestheticism

  2. Mannerist Style • Mannerism - the aesthetic style that uses exaggerated and artificial (as opposed to naturalistic) expression to produce drama, tension, exuberance and grandeur in painting, and sculpture. • Mannerism was born as a reaction to harmonious and naturalist ideals of Leonardo, Raphael and Michelangelo.

  3. Rafaello Madonna in the Meadow • Parmigianino Madonna with a Long Neck

  4. Kitano’s Mannerist Style Conventional filmmaking ⇔ Mannerist filmmaking • STORYTELLING • Medias res (Latin for ‘into the middle of the things) - is a literary and artistic technique where the narrative starts in the middle of the story instead of from its beginning (ab ovo, or ab initio). • e.g. Martin Scorsese’s Goodfellas and Quentin Trantino’s Pulp Fiction (Classic beginning of a film: Alfred Hitchcock, Strangers in Train http://www.youtube.com/watch?v=7bjA-4no1ZY

  5. Kitano’s Mannerist Style Storytelling • Radical ellipsis • Ellipsis (Greek for ‘omission’) - a narrative device: omitting a portion of the sequences of events, allowing the reader to fill in the narrative gaps. • Kitano omits significant portions of narrative. • e.g. Ozu Yasujiro’s films and his own, Kikujiro

  6. Kitano’s Mannerist Style Storytelling • Constant narrative diversions • Episodic storytelling which is only loosely connected with the main story line. • The longest diversion is the middle part of Sonatine, in which time seems to have stopped and almost absurd episodes are accumulated.

  7. Kitano’s Mannerist Style; Mise-en-scène • Mise-en-scene of Kitano’s films: creation of ascetic and clinically clean atmosphere • Stillness, silence, emptiness, nothingness • Empty sea, empty land, empty school ground, empty swimming pool

  8. Kitano’s Mannerist Style; Mise-en-scène • Empty sea in Okinawa • Boiling Point

  9. Kitano’s Mannerist Style; Mise-en-scène • Empty beach • A Scene at the Sea

  10. Kitano’s Mannerist Style; Mise-en-scène • Empty road and beach • Sonatine

  11. Kitano’s Mannerist Style; Mise-en-scène • Empty school ground and underpath • Kids Return

  12. Kitano’s Mannerist Style; Mise-en-scène • Empty sea with Horibe and empty lake with Nishi and his wife • HANA-BI

  13. Kitano’s Mannerist Style; Mise-en-scène • Empty swimming pool and empty river bank • Kikujiro

  14. Kitano’s Mannerist Style; Mise-en-scène • Empty snow-capped mountain top and empty path in autumn colours • Dolls

  15. Kitano’s Mannerist Style; Mise-en-scène • Static composition - a shot in which nothing moves as if frozen. • Small subject sizes and protracted shots • e.g. Murakawa’s men aftermath of the bombing of the Anan’s office

  16. Kitano’s Mannerist Style; Mise-en-scène • Mannerist distortions of the cinematic conventions • Spatial treatment and screen composition • e.g. medium shot of three people with unusually large head space in Boiling Point • e.g. medium shot of the killer whose face is cut by the top edge of the screen

  17. Kitano’s Mannerist Style; Mise-en-scène • Unconventional composition • Main figures and objects placed in the dead centre of the frame • Textbook composition - main figures and objects must be placed slightly off-centre, particularly in a widescreen format.

  18. Kitano’s Mannerist Style; Mise-en-scène • Wim Wenders’ classic widescreen composition in Paris, Texas

  19. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots - as if you were watching still photos. • Long and medium shots are norm in Kitano’s early films. More close-ups in his later films, though they are not many.

  20. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots of Azuma • Violent Cop

  21. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots of Yakuza, and Uehara and Kazuo • Boiling Point

  22. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots of surfers, and Takako and Shigeru’s surfing board • A Scene at the Sea

  23. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots of Murakawa and an assassin • Sonatine

  24. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots of two kids • Kids Return

  25. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots of Nishi, and Nishi and his wife • HANA-BI

  26. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots of Kikujiro after seeing his mother and after saying farewell • Kikujiro

  27. Kitano’s Mannerist Style; Mise-en-scène • Frontal shots in Dolls

  28. Kitano’s Mannerist Style; Mise-en-scène • Is there such a thing as ‘Kitano Blue’? • Conscious use of thick blue colour

  29. Kitano’s Mannerist Style; Mise-en-scène • Conspicuous since Sonatine • Aesthetic and atmospheric rather than symbolic meaning

  30. Kitano’s Mannerist Style; Mise-en-scène • Blue first used unconsciously and unintentionally later becamea benchmark of Kitano’s film.

  31. Kitano’s Mannerist Style; Mise-en-scène • Kitano began to use colours more strategically after HANA-BI

  32. Kitano’s Mannerist Style; Mise-en-scène

  33. Kitano’s Mannerist Style; Mise-en-scène • Minimalist visual style: simple settings (empty space); simple compositions (frontal shots); simple camera movements (static shots); long take • Minimalist visual style renders Kitano’s films pensive mood

  34. Kitano’s Mannerist Style; Montage • Editor since his second film, Boiling Point • Languid pace, relying on long takes →pensive mood • Effective use of dissolves and overlaps

  35. Kitano’s Mannerist Style; Montage • Jagged editing ignoring continuity - A scene abruptly cut in the middle of an action - A scene abruptly begin in the middle of an action →Estrangement (endfremden) effects →Preventing the audience from psychologically being involved in actions → Action ends abruptly, refusing to show the emotional reverberation caused by it. Emotional reticence

  36. Kitano’s Mannerist Style; Montage • Frequent use of cross-cutting • Contrast and correspondence • Horibe is painting a lyrical picture while Nishi is painting his police car in HANA-BI • Azuma is playing baseball while his sister is gang-raped by yakuza in Violent Cop

  37. Reference to Other Films • Kitano refers to and quotes from other films, works of Ozu, Coppola, and Kubrick • Static shots and frontal composition • Cross-cutting • Representation of violence • Stanley Kubrick’s AnClockwork Orange and Kitano’s Violent Cop (openings) • http://www.youtube.com/watch?v=oWLByMshYIU

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