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There’s no business like Japanese show business, at least as practiced by ’60s B-movie savant Seijun Suzuki. Favoring violent non sequiturs and theatrical artifice over narrative continuity and genre boundaries, he hit audiences with hot and cold blasts of displacement, playfully tactile uses of image and sound, mind games masquerading as ...
Seijun Suzuki, Gate of Flesh, 1964, 35 mm, color, sound, 90 minutes. Almost unique to Suzuki is his idiosyncratic use of double exposures, either to provide perspective on a character’s inner life or to hold two evenly balanced counterpoised images in the same frame, his own version of the split-screen technique that was slowly gaining popularity in contemporary Hollywood.
Japanese filmmaker Seijun Suzuki, who blended Pop Art and the Yakuza to create unconventional crime dramas, died in a hospital in Tokyo on February 13. The ninety-three-year-old director’s death was…
Among its many notable episodes was the firing of its now most celebrated director, Seijun Suzuki, in 1967, following outrage over Suzuki’s legendary yakuza film of that year, Branded to Kill, and the 1971 decision to commit to roman porno as the studio’s new creative direction. However practical the decision to turn to explicit material to ...
There was also the fictitious Keiko Suzuki, who started a new listserve, borrowing the name 7-11. On the Net, identity tricks are relatively easy to pull off and effective at destabilizing (complacent or boring) communities, and these capers imbued cyberspace with an air of mischief and unpredictability. 7-11 was dedicated to the irrational and ...