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Climbing Mt. Suzuki Footnotes1. Kimie
Itakura, The Asahi Shimbun, reprinted in 45. Caliber Samurai, a Seijun
Suzuki tribute site with much priceless information (and more than a few
dead links too) at: http://sweetbottom.tripod.com/articles.htm 2. Jonathan
Rosenbaum, Chicago Reader, 08.22.03. 3. Eric
Campos, Film Threat, 2003-06-09. 4. Ken Fox,
TV Guide/CineBooks Database, at http://www.tvguide.com/movies/database/showmovie.asp?MI=44750 5. Michael
Atkinson, The Village Voice, June 11-17, 2003. 6. Many of
the works of this so-called outlaw generation enjoyed a retrospective at
the 2003 Viennale, collected and rescreened thanks to Roland Domenig. See
Derek Malcolm, “A Viennese whirl with a ‘difficult’ flavour”, The
Guardian, October 29, 2003. 7. See David
Dresser, Eros plus Massacre: An Introduction to the Japanese New Wave,
Bloomington: Indiana University Press, 1988; discussion of more
exploitation work in Patrick Macias, TokyoScope:
The Japanese Cult Film Companion, San Francisco: Cadence Books, 2001. 8. William Johnson, “A New View of Porn: The Films of Tatsumi Kumashiro”, Film Quarterly, Fall 2003, Vol. 57, Number 1, pp.11-19. 9. Mark Schilling, The Yakuza Movie Book: A Guide to Japanese Gangster Films, Berkeley:Stone Bridge Press, 2003, p. 101. 10. Referencing the hero’s masculine assertion that “a drifter doesn’t need a woman”, Schilling knowingly comments: “This is the perfect line for the legions of dateless guys who have helped make Tokyo Nagaremono among Suzuki’s most popular films”. Schilling, ibid., p.295. 11. Yoshida’s more famous Eros Plus Massacre (1969)— which examines the relations of real life anarchist Sakae Osugi with several women, including a radical feminist who tries to assassinate him in 1916, intermingles past and present, proceeding with conscious theatricality—makes Suzuki look relatively conservative and traditional. 12. Scott Tobias, The Onion, June 9, 2003, Vol 29 Issue 22. 13. Elvis Mitchell, New York Times, 8-25-2003. 14. Mike D’Angelo, Time Out New York, Issue 402, June 12-19, 2003. |