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Beyond the Screen

Terayama. Spectatorship. Intermediality

Eugenio De Angelis    Università Ca’ Foscari Venezia, Italia    

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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.

Published
June 27, 2019
Accepted
April 1, 2019
Submitted
Feb. 13, 2019
Language
EN

Keywords: SpectatorshipIntermedialityTerayama ShūjiPerformanceJapanese Cinema

Copyright: © 2019 Eugenio De Angelis. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.