settima

TōruTakemitsu

他人の顔 [Tanin no kao / The Face of Another] (Hiroshi Teshigahara, 1966)

Jan

3

Tutankhamun's tomb

他人の顔 (1966)

Mr. Okuyama (Tatsuya Nakadai). DP: Hiroshi Segawa.

Bandages for that day in 1924 when Howard Carter came across Tutankhamun's sarcophagus.

“You'll feel better soon. Once you're used to the mask, you'll be a new man — one with no records, no past. A mind invisible to the world.”

– psychiatrist

儀式 [Gishiki / The Ceremony] (Nagisa Ōshima, 1971)

Jan

1

儀式 (1971)

A boy in school uniform has his ear pressed against the ground. DP: Tōichirō Narushima.

Le mystère Koumiko [不思議なクミコ / The Koumiko Mystery] (Chris Marker, 1965)

Oct

11

1964

Le mystère Koumiko (1965)

A closeup of Koumiko's face, taken from a television screen. DP: Chris Marker.

“Mr. Everyman explains how to look like a Japanese and thus impress those wild and not very civilized people. Mrs. Everyman replies that for savages, they look remarkably civilized. Meanwhile, Mr. Everyman, seeing more people looking even more Japanese, is reassured. Mrs. Everyman sees soldiers parading in European uniform. She smiles ironically. But now a number of typical Japanese walk into the house. Her irony disappears. And Mr. Everyman is not ashamed to admit… he is mystified.”

– narrator

火まつり [Himatsuri / Fire Festival] (Mitsuo Yanagimachi, 1985)

Feb

16

water

火まつり (1985)

A man drinks from a small stream like an animal. DP: Masaki Tamura.

儀式 [Gishiki / The Ceremony] (Nagisa Ōshima, 1971)

Nov

11

World Origami Day

儀式 (1971)

A man kneeled in front of a Shintō altar. Ceremonial origami, known as origata or girei origami can be seen hanging from the altar. This is 幣帛 [heihaku], an offering made of cloth or paper. DP: Tōichirō Narushima.

心中天網島 [Shinjū: Ten no Amijima / Double Suicide] (Masahiro Shinoda, 1969)

Oct

10

International Stage Management Day

心中天網島 (1969)

Jihei (Kichiemon Nakamura ) and his children with a stagehand visible between them. DP: Tōichirō Narushima.

心中天網島 is based on a 1721 文楽 [#bunraku] puppet theatre play]. As traditional in this style of theatre, the puppeteers are in full view of the audience wearing all-black cloaks. 心中天網島 does the same, but substitutes the puppets with flesh and blood actors.

 

The puppeteers are 黒衣 [kuroko, litt. “black clad”, though there are colour variations depending on the scene's requirements], guiding the performers towards their destiny.