The conceit of a "critical renga" was loosely inspired by Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tomlinson's 1969 quadrilingual experiment in poetic composition Renga, itself loosely modeled on the Japanese poetic genre of that name. This form of "linked verse" became a major literary genre in Japan in the fourteenth century. Starting from an opening hokku of three lines of five, seven, and five syllables (this is the origin of the haiku), a group of poets would take turns composing the next link in their chain, each alternating between fourteen and seventeen syllables, with each contributor responding only to the immediately preceding set of verses. 1 A quite complex set of rules developed over time, guiding both the particulars of any set of verses and the relationship between them in the composition as a whole (which could run to one hundred or even one thousand sets of verses). The goal was to try out a form of critical writing that would be a bit more social, more interactive, and more improvisatory than is typically the case with academic writing. At the same time, we wanted to foreground the constructed character of the connections that constitute a field. As a practical matter, we decided that instead of a single chain (which would have taken too long to complete), we would have two separate strands that would meet. Each contributor saw all the previous contributions in the chain and was encouraged to dialogue with any or all of them. We then decided to take advantage of this double-stranded structure by
Rashomon (Japão, dir. Akira Kurosawa, 1951), filme responsável pela inaugural presença do cinema japonês no ambiente internacional, em 1951, aqui é ponto central para abordar a formação discursiva da modernidade. Os discursos crítico, artístico e cinematográfico são interceptados tomando-se como ponto de partida a transposição da literatura para o cinema dos contos Dentro do Bosque e Rashomon, de Ryunosuke Akutagawa, realizada por Akira Kurosawa, e a constituição de uma subjetividade moderna a partir do conceito de ‘self’. O entendimento dos discursos nas diferentes épocas (início do século XX e pós-Segunda Guerra Mudial) abre as arestas dos procedimentos de constituição de tradições e cinematografias, culminando com o próprio discurso da crítica já nas décadas de 1960 e 1970.
A partir de um filme japonês, Ichi, o Assassino (Koroshiya Ichi, 2001), de Takashi Miike, este artigo pretende explorar a relação possível entre os diversos usos da imagem, identidade e representação do corpo. Partindo do pressuposto de que para o biopoder, no seu nível estético, o corpo e o olhar são essenciais para a constituição de subjetividades controladas em identidades, tentamos propor, a partir o filme, em sua complexidade estética (usos da imagem) e diegética (narrativa e enunciação), uma leitura que vá além da mera crítica da representação da violência, percebendo novas possibilidades políticas do cinema narrativo.
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