Слово — плод
Это отрывок из книги Masao Miyoshi "Off center: power and culture relations between Japan and the United States" (вчера специально ездила за ней в библиотеку). Если кто-нибудь захочет помочь с переводом, будет здорово - потому что я, конечно, попробую, но промт и то справится лучше.

Japanese Prisoner of War Wardens


@темы: Селльерс/Йонои, Публикации, Подробности, Нагиса Осима, Музыка, История создания, Дэвид Боуи

2009-07-23 в 15:08 

He seems to believe that the film represents the novel accurately. Ну, и я согласна.While in the film Celliers' acts of betrayal, described in a series of flashbacks, seem irrelevant to the main story, in the novel it is quite clear that Celliers' bravery and heroism in a remote colony would redeem the earlier betrayals,По-моему, это и в фильме показано. There is no explicit scene of mutual attraction between Celliers and Yonoi either in Van der Post's version or in Oshima's, but there is a discernible difference in the modes of representation. In the film, the Japanese officer is hopelessly infatuated with Celliers, who remains almost completely indifferent. In the novel, however, Celliers is very much aware of the effects of his good looks on the Japanese officer — in fact, this self-awareness is presented as deeply enmeshed with his sense of guilt over the betrayal of his physically unattractive but spiritually gifted younger brother (примеч. 11). Oshima seems intent to present the Japanese-English relationship as more one-sided than in the novel. Тоже верно. Merry Christmas is self-consciously male and homosexual both in intention and execution. :yes:instead of the two pairs (Hara and Lawrence, Yonoi and Celliers) being observed by the "I" or described to him, the film audience is directly introduced to them, in their pairings and in occasional criss-crossings between Hara and Celliers, Yonoi and Lawrence. This male concentration is complicated further by Oshima's invention of the rape of a Dutch prisoner by a Korean soldier, an episode expanding the context of the central pairs. The most physical relationship between the Korean and the Dutch soldier lines up with the largely unconscious intimacy between Hara and Lawrence, and finally with the self-conscious Yonoi-Celliers affair. Oshima seems intent to provide a complement to his two immediately preceding films, Empire of Passion and In the Realm of the Senses, in which he tried to make sexuality overwhelm pornography. To present eroticism in homosexuality before a presumably heterosexual audience, and to have homosexuality represent friendship and love in general, and finally to prove that love and friendship are possible between enemies are among the objectives of this film, according to Oshima (примеч. 12).ППКС

2009-07-23 в 17:45 

Слово — плод
тебе понравилось, а?

а для меня важно было, кроме этого, еще In a special issue of Wide Angle devoted to Oshima Nagisa (Vol. 9, No. 2, 1987), Adam Knee argues that Celliers is a "Christ figure" (p. 58). There is nothing wrong with the idea, since I suppose Christ is meant to stand for—and died for—everyone. But Knee might have thought a little bit more about why Oshima wanted to introduce Jesus into his film. - потому что флудер об этом говорила )
а еще странно было, как именно Миоши пишет имя Джека )))))

еще вот это тронуло: Van der Post seems more interested in the two brothers, one spiritual and the other physical, both beautiful in different ways, than in the two officers, one white and the other yellow, both beautiful, getting together somehow in the battlefield

2009-07-23 в 19:29 

that Celliers is a "Christ figure" потому что флудер об этом говорила Я тоже обратила внимание на эти слова.Я помню, что она говорила.

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Merry Christmas Mr Lawrence