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The Cinema of Takeshi KitanoFlowering Blood$
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Sean Redmond

Print publication date: 2013

Print ISBN-13: 9780231163330

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231163330.001.0001

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Starring Kitanos

Starring Kitanos

Chapter:
(p.72) Chapter Four Starring Kitanos
Source:
The Cinema of Takeshi Kitano
Author(s):

Sean Redmond

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231163330.003.0005

This chapter explores the multiple personas that mark out Takeshi Kitano/Beat Takeshi, as well as the national and transnational qualities of Kitano that ultimately addresses questions of Occidental Orientalism and self-orientalising projections and phantoms. The damage that fame can do is explored in relation to Kitano's own struggle with fame in this chapter: Beat Takeshi's role in Takeshi Kitano's films not only suggests a fragmented or multiple self, but at the level of physical or corporeal performativity, and facial expressivity, he produces a silently brooding, melancholic presence that is the exact articulation or representation of masculine mono no aware, and existential exhaustion. Beat Takeshi's presence also of course gives embodiment to the director: Kitano's authorial signature, his concerns, his sense of things is given phenomenological ‘body’ through (Beat) appearing in nearly all his films.

Keywords:   Takeshi Kitano, Beat Takeshi, Occidental Orientalism, fame, performativity, mono no aware

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