Annali di Ca’ Foscari. Serie orientale
55 | 2019

Annali di Ca’ Foscari. Serie orientale
55 | 2019

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Topic
chevron_rightLanguages and Cultures of the Middle and Far East

Language
en

ISSN
chevron_right1125-3789

e-ISSN
chevron_right2385-3042

Online issue
Vol. 55 | Num. 1 | Giugno 2019

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Annali di Ca’ Foscari. Serie orientale | 55 | 2019

Beyond the Screen
Terayama. Spectatorship. Intermediality

Eugenio De Angelis
Università Ca’ Foscari Venezia, Italia
eugenio.deangelis@unive.it

DOI 10.30687/AnnOr/2385-3042/2019/01/019

Submitted 13 Feb 2019
Accepted 01 Apr 2019

Abstract

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.

Keywords
Japanese Cinema. Terayama Shūji. Spectatorship. Intermediality. Performance.

Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License 

Table of contents
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Campo DC Valore

dc.contributor.author

De Angelis Eugenio

dc.title

Beyond the Screen

dc.type

Journal Article

dc.language.iso

en

dc.identifier.uri

http://doi.org/10.14277/AnnOr/2385-3042/2019/01/019

dc.description.abstract

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.

dc.relation.ispartof

Annali di Ca’ Foscari. Serie orientale

dc.relation.ispartof

Vol. 55 | Num. 1 | Giugno 2019

dc.publisher

Edizioni Ca’ Foscari - Digital Publishing

dc.date.issued

2019-06-27

dc.dateAccepted

2019-02-13

dc.dateSubmitted

2019-04-01

dc.identifier.issn

1125-3789

dc.identifier.eissn

2385-3042

dc.rights

Creative Commons 4.0 Attribution alone

dc.rights.uri

http://creativecommons.org/licenses/by/4.0/

dc.subject

Japanese Cinema

dc.subject

Terayama Shūji

dc.subject

Spectatorship

dc.subject

Intermediality

dc.subject

Performance

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55 | 2019

Table of contents