Introduction
The movie Double Suicide emphasizes on the premodern Japanese art that is stylized and sustained at the level of performance, artistic design, dramaturgy, and sound. Based on the theatre script of Banraku, the film is set in a period among the Osaka merchant class. The evidence of this is the inability of the merchant to pay out his lover’s debt, a situation leading to their desire to seek Shinju. The dynamics at play reinforce the thinking of the Japanese concept of space and time in the exhibition catalogue ma. The structural aspects of Ma capture the general concept of Ma.
Movie Analysis
Double Suicide 1969 begins with the first scene set in Bunraku puppet theatre. From this artistic perspective, the film adopts the concise style and convention of wooden puppets with a characteristic black-clad puppeteer. The Bunraku theatre features the uncanny puppet figures where the film foregrounds a tradition, which Kurogo directs, manipulates, and assists the actions of live performance.[1] Bal further outlines that the concept of space and time in reflected in a single entity with the objects on view, including portions of a stage, thereby portraying a photographic dimension of the Japanese print.[2] The conceptual view of space and time is anchored on the Ma exhibition designed by Arata Isozake, cataloging dramatic performance and complimentary concerts. It is plausible to note that from this scene, the length of time extensively depends on the ideas shaped while the size of the space handing on the sentiments.
The sense of place does not go against the objective awareness of the homogeneous or static quality of the topological space, which maps the belief of infusing the objective of the existential and vivid foundation of space.[3] Given this aspect, it is credible to note that the hundreds of uses of Ma in the modern and traditional Japanese are depicted from one dimensional, two-dimensional, and three-dimensional realism.
The film Double Suicide draws from the exhibition catalogue a range of issues that reflect every concept of design. The reality is based on the foundation that Kurogo in Double Suicide becomes extensively figurative, littered with high contrast of the black and white cinematography. The relaxation of such contrast captures locations where bridges, windows, tombstones, and brothers are constructed within the graphic features.[4] Accordingly, it is worth noting that such astute attention to the qualities of graphic extends to the design of flows and walls that establish a succinct relationship To illustrate, it is clear that the early scenes of the film portend the pleasure quarters where actors remember the woodblock tradition of Ukiyoe. As a result, it is evident that the graphic patterns in the lover’s tryst are exhibited in black and white paintings on the floor.
The Japanese assumptions that the cultural implication of Double Suicide emphasizes on the aesthetic values of the Japanese art characterize an illusionistic realism linking the theatrical traditions of the Kabuki stage. Concerning this feature, it is clear that the exhibition manifests full and flat lighting as opposed to the chiaroscuro sense of light.
The historical detour of Double Suicide gives the perception of how film and drama work within the scope of transforming traditional aesthetics.[5] The wave of Shinoda is placed within a political context of ideological commitment filtered through the realistic Shingeki theatre.[6] From the realm of the society, the importance of a sense of time and space is anchored on the mindset revealed in the cases of deficiency that takes into account the balance of space and form in the extensiveness of artistic judgment.
In virtually all scenes, the film detaches from the rest of the scenes giving the catalogue a rather uncompromising and bleak cinematic effect. Such a theatre stage drama involves the irresistible eroticism power to capture social repression and demand social convention.[7] The film outlines the themes of constraints and freedom underpinning the construction of time and space in Double Suicide. For example, it is clear that the lattice winders, checkered walls, and grids are symbolic to entrapment, which is a reflection of space with dynamics of the time.
From the film Double Suicide, it emerges that some cultures express their sense of time regarding space intervals. Accordingly, it is not surprising to note that the Ma character denotes the logic behind spatial-temporal extensiveness.[8] The dual relation of Ma to time and space is extensively non-semantic. The reason behind is that Ma, within this spectrum is experiencing time structured processes. The film Double Suicide constructs a sequence of spatial events steering different orthographic maps.
In the realm of experience, the film characterizes the supreme expression of Ma art. Combining all aspects elaborated in the symphony, the concept of space and time epitomizes the Japanese artistic preoccupation with the succinct balance between space, object, sound, action, and movement and the literal grasp of the space depicted in the design. Therefore, the sense of space is worked in an architectural foundation of variable arrangement. In essence, the uses of space elements characterize the Japanese residence that adapts to changing sessions and social needs.
Bibliography
Bal, Mieke. “Exhibition as film.” Exhibition Experiments (2007): 71-93.
Metz, Christian. “Photography and fetish.” October 34 (1985): 81-90.
Robertson, Jennifer. “Dying to tell: sexuality and suicide in Imperial Japan.” Signs 25, no. 1 (1999): 1-35.
Smith, Paul Julian. The Moderns: Time, Space, and Subjectivity in Contemporary Spanish
Culture. Oxford University Press, USA, 2000.
[1] Mieke, Bal. “Exhibition as film.” Exhibition Experiments (2007): 83.
[2] Ibid, 76.
[3] Ibid, 84.
[4] Paul, Smith Julian. The Moderns: Time, Space, and Subjectivity in Contemporary Spanish Culture. (Oxford University Press, USA, 2000), 118
[5] Jennifer, Robertson. “Dying to tell: sexuality and suicide in Imperial Japan.” Signs 25, no. 1 (1999): 16
[6] Christian, Metz. “Photography and fetish.” October 34 (1985): 87
[7] Ibid, 88.
[8] Bal, Mieke. “Exhibition as film.” Exhibition Experiments (2007): 89
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