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 and Seijun Suzuki’s The Gate of Flesh (1964) are ostensibly set in the same time and location—immediate post-war Tokyo.(150-300words) 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 progressive […]