Bīto Takeshi - The cinema of Takeshi Kitano: flowering blood

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the cinema of TAKESHI KITANO

DIRECTORS CUTS

Other titles in the Directors Cuts series:

the cinema of EMIR KUSTURICA: notes from the underground

GORAN GOCIC

the cinema of KEN LOACH: art in the service of the people

JACOB LEIGH

the cinema of WIM WENDERS the celluloid highway

ALEXANDER GRAF

the cinema of KATHRYN BIGELOW: hollywood transgressor

edited by DEBORAH JERMYN & SEAN REDMOND

the cinema of ROBERT LEPAGE: the poetics of memory

ALEKSANDAR DUNDJEROVIC

the cinema of GEORGE A. ROMERO: knight of the living dead

TONY WILLIAMS

the cinema of ANDRZEJ WAJDA: the art of irony and defiance

edited by JOHN ORR & ELZBIETA OSTROWSKA

the cinema of KRZYSZTOF KIESLOWSKI: variations on destiny and chance

MAREK HALTOF

the cinema of DAVID LYNCH: american dreams, nightmare visions

edited by ERICA SHEEN & ANNETTE DAVISON

the cinema of NANNI MORETTI: dreams and diaries

EWA MAZIERSKA & LAURA RASCAROLI

the cinema of MIKE LEIGH: a sense of the real

GARRY WATSON

the cinema of JOHN CARPENTER: the technique of terror

edited by IAN CONRICH & DAVID WOODS

the cinema of ROMAN POLANSKI: dark spaces of the world

edited by JOHN ORR & ELZBIETA OSTROWSKA

the cinema of TODD HAYNES: all that heaven allows

edited by JAMES MORRISON

the cinema of STEVEN SPIELBERG: empire of light

NIGEL MORRIS

the cinema of ANG LEE: the other side of the screen

WHITNEY CROTHERS DILLEY

the cinema of TERRENCE MALICK: poetic visions of america (second edition)

edited by HANNAH PATTERSON

the cinema of WERNER HERZOG: aesthetic ecstasy and truth

BRAD PRAGER

the cinema of LARS VON TRIER: authenticity and artifice

CAROLINE BAINBRIDGE

the cinema of NEIL JORDAN: dark carnival

CAROLE ZUCKER

the cinema of JAN SVANKMAJER: dark alchemy

edited by PETER HAMES

the cinema of DAVID CRONENBERG: from baron of blood to cultural hero

ERNEST MATHIJS

the cinema of JOHN SAYLES: a lone star

MARK BOULD

the cinema of SALLY POTTER: a politics of love

SOPHIE MAYER

the cinema of MICHAEL HANEKE: europe utopia

edited by BEN McCANN & DAVID SORFA

the cinema of THE DARDENNE BROTHERS: responsible realism

PHILIP MOSLEY

the cinema of

TAKESHI KITANO

flowering blood

Sean Redmond

WALLFLOWER PRESS LONDON & NEW YORK

A Wallflower Press Book

Published by

Columbia University Press

Publishers Since 1893

New York Chichester, West Sussex

cup.columbia.edu

Copyright Sean Redmond 2013

All rights reserved.

E-ISBN 978-0-231-85023-0

Wallflower Press is a registered trademark of Columbia University Press

A complete CIP record is available from the Library of Congress

ISBN 978-0-231-16332-3 (cloth : alk. paper)

ISBN 978-0-231-16333-0 (pbk. : alk. paper)

ISBN 978-0-231-85023-0 (e-book)

Series design by Rob Bowden Design

Cover image of Takeshi Kitano courtesy of Sony Pictures Classics/The Kobal Collection/ Kumagai, Tsuranuku

A Columbia University Press E-book.

CUP would be pleased to hear about your reading experience with this e-book at .

CONTENTS

New ideas and moments of inspiration emerge in the unlikeliest of places, at the most unlikely of times. I have been caught by a revelation, found the right question, or the analytical solution to something that had been puzzling me for weeks, on the evening train, after a bad dream, at the playground with the kids, or while chilling out in front of the television. My best work though is always fashioned in and around the wonderful research being carried out by my students; their ideas, freshness and hunger to find a way out of a blind alley, is just the burst of energy I need to borrow on a Kitano blue day. In particular, while writing this book, Dick Whyte, Bran Gnanalingam, Allison Maplesden, Torben Antonsen, Kendra Marston, Brady Hammond, James Morris, Amber Johnson and Mark Ellsworth were all incredibly helpful to the journeying I undertook. Thank you. This is the sea.

for Josh, Caitlin, Erin, Dylan and Cael

I will begin this monograph by way of a detour of sorts: the story of my becoming lost on the streets of Tokyo, a cine pilgrim in search of Takeshi Kitano. I will define the cineaste pilgrim as the film fan that goes in search of the art and artist they most admire and who has left an enigma or legacy of some kind for them to discover. The cineaste pilgrim may also be captivated by a purer phenomenological desire to find experiential truth in the great art, artist or star they go in search of. The cineaste pilgrim who journeys to the East, however, is arguably a culturally or ideologically heightened example of this awe-struck travelogue since their journey is readily connected to issues and questions of Otherness, Orientalism and stranger fetishism. My own desire to write about Kitano, to journey to Tokyo to find him, is placed within this sea of troubling contexts. In this introduction I ask the questions: Why Kitano

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