Nagisa Oshima

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Stephen Heath

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The intensity of Oshima's work lies in a 'going beyond' of content that constantly breaks available articulations of 'form' and 'content' and poses the film in the hollow of those breaks. The films have an immediate presence of narrative articulation but that presence in each case presents the absence of another film the discourse of which, punctuating this film and its space, finds its determinations, its contradictions, its negativity. Split in the narrativisation, the films are thus out of true with—out of 'the truth' of—any single address: the subject divided in complexes of representation and their contradictory relations. (p. 109)

The work of Oshima is political and obliquely political, a return of the one on the other through questions posed to meanings, images, fictions of unity, the questions of subject relations and transformations. (p. 110)

Stephen Heath, "Narrative Space," in Screen (© The Society for Education in Film and Television 1976), Vol. 17, No. 3, Autumn, 1976, pp. 68-112.∗

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