Thursday, June 17, 2004
In the Realm of the Senses
Directed by Nagisa Oshima
Is this art or porn? One of the most difficult movies that I have to go through because it is hard to justify whether there are any merits to In The Realm of the Senses when all we see are people engaging in sex. It basically revolves around a couple - a male shop owner, Kichi (Eiko Matsuda), and a waitress working in his restaurant, an ex prostitute, Sada (Tatsuya Fuji) whom they had affairs and in which more than half of film time shows them having sex and playing sex games.
Oshima shows them having sex so often that their acts become repetitive and boring. Their relationship is portrayed as one of intense sexual gratification that grows darker as they progressed to sexual S&M acts including asphyxiation and humiliation.
Even though the sexual acts did occur, In The Realm of the Senses cannot be classified as conventional porn. It does have a narrative (unlike most porn) and uses visual cinematic shots to distance itself away from the crass. The director chooses to convey the actors’ emotions with profile close-ups, alternating it at times with long shots that creates a disturbing effect for the audience.
It is difficult to fathom what Oshima wanted to convey in Senses. Was he using the story to critique the oppressive misogynist Japanese society with regards to the sexual and political mores at that time or was he exploring the psychology of sexuality, love and death?
Who or what does Kichi represent as the male stud? More importantly, what does Sada’s role symbolize in feminist terms especially with regards to female sexuality. She is not seen as the “passive” party but rather, the aggressively sexual huntress, especially when the film climaxes towards the end.
Not only can In the Realm of the Senses be read by itself, but also be critiqued as that unusual daring statement that challenges dominant cinematic hyperbole. It shows male genitalia, body fluids and explicit scenes which is still being unaccepted.
Singapore continues to ban the movie, which is a shame because it is one of those shock art that continues to draw controversy today.
Directed by Nagisa Oshima
Is this art or porn? One of the most difficult movies that I have to go through because it is hard to justify whether there are any merits to In The Realm of the Senses when all we see are people engaging in sex. It basically revolves around a couple - a male shop owner, Kichi (Eiko Matsuda), and a waitress working in his restaurant, an ex prostitute, Sada (Tatsuya Fuji) whom they had affairs and in which more than half of film time shows them having sex and playing sex games.
Oshima shows them having sex so often that their acts become repetitive and boring. Their relationship is portrayed as one of intense sexual gratification that grows darker as they progressed to sexual S&M acts including asphyxiation and humiliation.
Even though the sexual acts did occur, In The Realm of the Senses cannot be classified as conventional porn. It does have a narrative (unlike most porn) and uses visual cinematic shots to distance itself away from the crass. The director chooses to convey the actors’ emotions with profile close-ups, alternating it at times with long shots that creates a disturbing effect for the audience.
It is difficult to fathom what Oshima wanted to convey in Senses. Was he using the story to critique the oppressive misogynist Japanese society with regards to the sexual and political mores at that time or was he exploring the psychology of sexuality, love and death?
Who or what does Kichi represent as the male stud? More importantly, what does Sada’s role symbolize in feminist terms especially with regards to female sexuality. She is not seen as the “passive” party but rather, the aggressively sexual huntress, especially when the film climaxes towards the end.
Not only can In the Realm of the Senses be read by itself, but also be critiqued as that unusual daring statement that challenges dominant cinematic hyperbole. It shows male genitalia, body fluids and explicit scenes which is still being unaccepted.
Singapore continues to ban the movie, which is a shame because it is one of those shock art that continues to draw controversy today.
Wednesday, June 16, 2004
Budapest Festival Orchestra – Singapore Arts festival
16 June 2004
Repertoire:
Bela Bertok – Hungarian Peasant Songs
Ludwig van Beethoven – Violin Concerto in D Major, Op. 61
Johannes Brahms – Symphony No. 4 in E Minor, Op.98
Esplanade Concert Hall
I am an amateur when it comes to classical music so there is probably no good reason why I should write let alone why you should read my review but music transcends boundaries; and if you listen to it with your heart and not just the ears, you can understand why good music can touch you.
My first classical concert and I must say I’m impressed with the orchestra’s performance. There is not a moment during the performance which allows you to drift your attention away. The chosen pieces might not be easy listening for someone who is not familiar with classical music but it should not deter you from listening to it. The first set is more entertaining which includes a violin solo performance by Christian Tetzlaff who shifts and changes his pitch abruptly yet smoothly with his musical instrument as if he is plucking them right from his heart. It is not just familiarity and perfected skills that one can hear from his solo playing, but also a certain imbedded emotional tension which holds the breath in the room.
The conductor of an orchestra is often likened to a leader in a team and Ivan Fischer, certainly looks like a good one as he holds and moves the crowd with ferocious wild movements. It was a very receptive crowd which got two encores, one of them was hungarian song number 14 I think while I’m not sure what the other is though.
Of course, without a reference point, i might just be blabbering nonsense but if the music touches you during that instant period of time (be it joy, fear or sadness), I think it has already done its job.
16 June 2004
Repertoire:
Bela Bertok – Hungarian Peasant Songs
Ludwig van Beethoven – Violin Concerto in D Major, Op. 61
Johannes Brahms – Symphony No. 4 in E Minor, Op.98
Esplanade Concert Hall
I am an amateur when it comes to classical music so there is probably no good reason why I should write let alone why you should read my review but music transcends boundaries; and if you listen to it with your heart and not just the ears, you can understand why good music can touch you.
My first classical concert and I must say I’m impressed with the orchestra’s performance. There is not a moment during the performance which allows you to drift your attention away. The chosen pieces might not be easy listening for someone who is not familiar with classical music but it should not deter you from listening to it. The first set is more entertaining which includes a violin solo performance by Christian Tetzlaff who shifts and changes his pitch abruptly yet smoothly with his musical instrument as if he is plucking them right from his heart. It is not just familiarity and perfected skills that one can hear from his solo playing, but also a certain imbedded emotional tension which holds the breath in the room.
The conductor of an orchestra is often likened to a leader in a team and Ivan Fischer, certainly looks like a good one as he holds and moves the crowd with ferocious wild movements. It was a very receptive crowd which got two encores, one of them was hungarian song number 14 I think while I’m not sure what the other is though.
Of course, without a reference point, i might just be blabbering nonsense but if the music touches you during that instant period of time (be it joy, fear or sadness), I think it has already done its job.
