Is The Gate of Flesh a progressive or regressive film? With its highly stylized aesthetics, can The Gate of Flesh be a more emotionally “honest” depiction of postwar Tokyo? Or, Drunken Angel is a more “honest” depiction?
As introduced in the lecture, Akira Kurosawa’s Drunken Angel (1948) and Seijun Suzuki’s The Gate of Flesh (1964) are ostensibly set in the same time and location—immediate post-war Tokyo. Respond to the following: Discuss several cinematic techniques that were deployed in Drunken Angel and The Gate of Flesh, respectively. Is The Gate of Flesh a […]