Kitano Takeshi

World Directors

by Aaron Gerow

Explores the issues of auteurship and stardom in the films of Kitano Takeshi especially as they relate to problems of personal and national identity in a Japan confronting an age of globalization. This book relates the director to issues of contemporary cinema, Japanese national identity, and globalism.

Genres: Film, Criticism, Nonfiction

216 pages, Paperback

First published September 3, 2007

About the author

My name is also listed as Aaron Andrew Gerow. I teach Japanese and East Asian cinema and culture at Yale University in the USA. My most recent books are Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925; Kitano Takeshi; and A Page of Madness: Cinema and Modernity in 1920s Japan. I've also written the Research Guide to Japanese Film Studies with Abe Mark Nornes. Before coming to Yale, I spent nearly 12 years in Japan working for the Yamagata International Documentary Film Festival and teaching at Yokohama National University and Meiji Gakuin University. I have published numerous works in English, Japanese and other languages on such topics as Japanese early cinema, contemporary directors, film genre, censorship, Japanese manga, and cinematic representations of minorities. I wrote film reviews for the Daily Yomiuri newspaper for nearly 12 years and selected the best ten Japanese films of the year for Eiga geijutsu, one of Japan's longest running film magazines.

Reviews

[Patrick McCoy · Rating 4 out of 5]

While reading Aaron Gerow’s book about Japanese director Kitano Takeshi, I would watch any film that I hadn’t seen yet after reading the section on that film and then usually rereading the section. It was a like a mini-course on the films of Kitano. Gerow tends to discuss the films in terms of how they were received by serious critics, Japanese audiences, and international audiences, while paying special attention to the auteur qualities of Kitano as a director. One major aspect of his film making process is repeatedly undermining expectations by changing style and thematics from film to film. In this sense, he reminds me of Steven Soderbergh who also has a penchant for experimentation and different stylistic genres. Essentially this book forced me to pay closer attention to Kitano’s films and that gave me a greater appreciation for his work overall, even though I had seen several films that I admired. It also made me realize that his films were more complex than they appear on the surface. I came to realize that he has a great pride in the artistic traditions of Japan and refrained from pandering to the international community generally speaking (that is not speaking of his only Hollywood co-production, Brother).

Here’s my take on the films discussed in the book:

Essential viewing: Violent Cop (1989), Hanabi (1997), Zatoichi (2003)

Well worth seeing: Boiling Point (1990), Sonatine (1993), Kids Return (1996), Kikujiro (1999)

Somewhat interesting, but not for everyone: Scene At Sea (1991), Brothers (2000), Dolls (2002)

Only for hardcore fans: Getting Any? (1995)

[Ad · Rating 5 out of 5]

Excellent book-length study of Kitano Takeshi as both auteur and actor by Aaron Gerow, who teaches at Yale University and brings his academic knowledge of Japan and the Japanese language to film studies - so far, most books about Japanese film were written by critics who couldn't read the rich trove of studies that exists in Japanese. By including many of such sources, Gerow sets a new standard for the study of Japanese film. He also shows Western audiences a new image of Kitano Takeshi, who is mainly regarded as a serious auteur and actor, while his just as important media personality and background as a Manzai prankster called Beat Takeshi are virtually unknown. Gerow sees Kitano as both actor and clown, and approaches his role as film "auteur" very cautiously - if only because Kitano mostly improvised from behind the camera. He also shows how prankster Beat Takeshi often sabotaged Kitano's artistic aspirations. The book provides detailed discussions of all films by Kitano Takeshi from "Violent Cop" in 1989 to "Takeshis'" in 2005 (the films which appeared after this book was written in 2008 are anyhow of lower quality as Takeshi became stuck in the rut of his violent Yakuza movies). An indispensable guide when watching such great films as "Hana-Bi" and "Sonatine," or lesser known ones as "Boiling Point" and "Kids Return."

[Seth · Rating 4 out of 5]

It's in depth, it's quality and give a lot of new informations to the people who are intrested in Kitano Takeshi. It's the best choice if you looking for a definitive film study about him. Helped me a lot with my thesis.

[Murray · Rating 3 out of 5]

Quite intellectual, but interesting. Wouldn't recommend unless you're either (a) a film student and/or (b) are really into Kitano Takeshi.