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Stories Written in Sunlight and Water: The Cinema of Yoshida Yoshishige: Pt.1 The Studio Years

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One unfortunate aspect of these examinations of the Japanese new wave has been an almost total lack of engagement with Yoshida Yoshishige. Critical discourse from both Japan and the West has long since treated Yoshida, implicitly or otherwise, as a peripheral figure. Of course, there are extenuating circumstances for this critical neglect, chief among which would doubtless be the complete lack of ready availability of his work outside Japan. Another factor attendant upon Yoshida's obscurity is the perceived esoteric nature of his cinema. Several of his most prominent works particularly the independently produced political, revolutionary trilogy of Erosu purasu gyakusatsu (Eros plus Massacre, 1969), Rengoku eroica (Heroic Purgatory, 1970) and Kaigenrei (Coup d'etat, 1973) are markedly difficult and obtuse.

Keywords: Japanese new wave; Shochiku; Yoshida Yoshishige; paradigmatic texts

Document Type: Research Article


Publication date: March 1, 2010

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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