Beyond the Screen
Intermedial practices are a common trademark of the Japanese art world in the sixties and seventies. This article focuses on a case study of such practices, namely the relationship between artwork and audience in Terayama Shūji’s cinema. Moving from the author’s theatrical theories on spectatorsh...
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| Format: | Article |
| Language: | English |
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Fondazione Università Ca’ Foscari
2019-06-01
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| Series: | Annali di Ca’ Foscari: Serie Orientale |
| Subjects: | |
| Online Access: | http://doi.org/10.30687/AnnOr/2385-3042/2019/01/019 |
| _version_ | 1797645932364300288 |
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| author | De Angelis, Eugenio |
| author_facet | De Angelis, Eugenio |
| author_sort | De Angelis, Eugenio |
| collection | DOAJ |
| description |
Intermedial practices are a common trademark of the Japanese art world in the sixties and seventies. This article focuses on a case study of such practices, namely the relationship between artwork and audience in Terayama Shūji’s cinema. Moving from the author’s theatrical theories on spectatorship (kankyakuron), the paper applies those theories to Terayama’s experimental movies, analysing how they are adapted to the cinematic medium. This study conceives a three-phased system, where the spectator is progressively brought towards the screen and his role changes from passive viewer to active agent. The study adopts an approach based on performance studies and avant-garde film theory to reveal how Terayama moulds the movie-going practice into a performative and collective event, using the movie theatre as a theatrical stage.
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| first_indexed | 2024-03-11T14:55:05Z |
| format | Article |
| id | doaj.art-a715899c170f4dc3a727c0e1775a2c40 |
| institution | Directory Open Access Journal |
| issn | 2385-3042 |
| language | English |
| last_indexed | 2024-03-11T14:55:05Z |
| publishDate | 2019-06-01 |
| publisher | Fondazione Università Ca’ Foscari |
| record_format | Article |
| series | Annali di Ca’ Foscari: Serie Orientale |
| spelling | doaj.art-a715899c170f4dc3a727c0e1775a2c402023-10-30T08:26:30ZengFondazione Università Ca’ FoscariAnnali di Ca’ Foscari: Serie Orientale2385-30422019-06-0155110.30687/AnnOr/2385-3042/2019/01/019journal_article_1705Beyond the ScreenDe Angelis, Eugenio0Università Ca’ Foscari Venezia, Italia Intermedial practices are a common trademark of the Japanese art world in the sixties and seventies. This article focuses on a case study of such practices, namely the relationship between artwork and audience in Terayama Shūji’s cinema. Moving from the author’s theatrical theories on spectatorship (kankyakuron), the paper applies those theories to Terayama’s experimental movies, analysing how they are adapted to the cinematic medium. This study conceives a three-phased system, where the spectator is progressively brought towards the screen and his role changes from passive viewer to active agent. The study adopts an approach based on performance studies and avant-garde film theory to reveal how Terayama moulds the movie-going practice into a performative and collective event, using the movie theatre as a theatrical stage. http://doi.org/10.30687/AnnOr/2385-3042/2019/01/019Intermediality. Japanese Cinema. Performance. Spectatorship. Terayama Shūji |
| spellingShingle | De Angelis, Eugenio Beyond the Screen Annali di Ca’ Foscari: Serie Orientale Intermediality. Japanese Cinema. Performance. Spectatorship. Terayama Shūji |
| title | Beyond the Screen |
| title_full | Beyond the Screen |
| title_fullStr | Beyond the Screen |
| title_full_unstemmed | Beyond the Screen |
| title_short | Beyond the Screen |
| title_sort | beyond the screen |
| topic | Intermediality. Japanese Cinema. Performance. Spectatorship. Terayama Shūji |
| url | http://doi.org/10.30687/AnnOr/2385-3042/2019/01/019 |
| work_keys_str_mv | AT deangeliseugenio beyondthescreen |