http://www.amazon.com/Beat-Takeshi-Vs-Kitano/dp/1885030401/ref=sr_1_1?ie=UTF8&s=books&qid=1250536120&sr=8-1Called "the world’s most original action auteur" by the Village Voice, Takeshi Kitano is already legendary in Japan, where he is known both for his inventive films and for his legendarily caustic alter ego, comedian Beat Takeshi. In the United States, his stylishly noir aesthetic has both influenced and been admired by such directors as Martin Scorcese and Quentin Tarantino. His emotionally intense yet lyrical films have won him worldwide acclaim and honors, including the Grand Prix for Hanabi [Fireworks] at the Venice Film Festival. Now, the long-awaited Beat Takeshi vs. Takeshi Kitano offers a collection of essays on the internationally acclaimed film director by Casio Abe.
Despite his impact on contemporary cinema, very little critical work on Kitano's films exists in the United States. Abe’s book, originally published in Japan, combines a detailed look at Kitano’s filmography with an incisive critique of the consumerist culture which Kitano's films play against. It is also purportedly Kitano’s favorite book on his own work. This translation of Abe’s writings on Kitano has been updated with articles that discuss Kitano’s most recent releases, up to and including Dolls (2002), as well as extensive appendices and footnotes. Abe is one of Japan's preeminent cultural critics, and his book gives a rare and insightful look into the workings of one of the largest media cultures in the world. This will be the first book devoted exclusively to Kitano’s work to be published in the United States. Beat Takeshi vs. Takeshi Kitano is the first volume in Kaya’s "Wicked Radiance" series, which examines the work of a new wave of Asian filmmakers who are reshaping contemporary cinema. (amazon.com)
The seemingly split personality between international film auteur Takeshi Kitano and TV personality/movie actor "Beat" Takeshi has intrigued me since I saw his wondrous 2000 road movie, "Kikujiro", right after one of the ridiculously dubbed episodes of his game show, "Most Extreme Elimination Challenge" (a.k.a. "Takeshi's Castle"). What appears common between the two selves is the unpredictability of his technique and his quirky sense of humor. Film critic Casio Abe has done a thorough job in examining both halves of the man in question with a series of meticulously written essays that illuminate Kitano's artistic motivations and the native culture that embraces him wholeheartedly. "Kikujiro", as it turns out, is something of an anachronism in Kitano's filmography since he is known by Westerners for developing his own film noir aesthetic with its stylized violence and narrative idiosyncrasies. You can tell from the book why his approach is revered by directors such as Martin Scorcese, John Woo and especially Quentin Tarantino, who seems to follow similar themes in his films.
As a true Japanese film connoisseur, Abe tends to get didactic in his meticulous descriptions of scenes and character motivations within Kitano's movies. For example, his comments about Kitano transcending Beat Takeshi move toward a philosophical discussion that borders on pretentious. The author's praise sometimes gets a little too effusive, but it's a forgivable indulgence since only the most serious fan of Kitano's work would read this book. Regardless, it's fortunate that this work has been translated into English since Kitano's worldwide audience has been building steadily for the past decade. Abe includes several excerpts from Kitano interviews and paints as complete a portrait of the filmmaker as possible. Originally published in 1994, the graphically pleasing softbound book has been augmented with a series of more recent magazine articles that focus on his most recent work. This is an excellent overview of Kitano's work for those who have been lucky enough to expose themselves to his artistry. (Ed Uyeshima, amazon.com)
Einzigartiges Buch über den Regisseur/Schauspieler und den TV-Comedian Kitano (quasi als split personality). Dabei werden seine Filme in einzelnen Kapitel untersucht, unter hochwissenschaftlichen Gesichtspunkten. Symbolismus, Metaphorik, repräsentiert z. B. durch Kameraeinstellungen (die Art wie die Schauspieler beim Laufen gefilmt werden, nur die Beine gezeigt werden etc.), Gewalt, Mond, Meer etc.
Dabei wird vor allem auch Wert auf den Kontrast zwischen Kino/Film und Fernsehen gelegt. Abe verteufelt das Fernsehen geradezu und sieht Kitano als Comedian in einer Sackgasse, der für sich selbst in seinem Oeuvre das Kino braucht, um nicht durchzudrehen und sich selbst zu verwirklichen.
Sehr, sehr interessant, Kitanos Lieblingsbuch über sich selbst. Aber auch wirklich extrem schwer zu interpretieren, selbst wenn die Englischkenntnisse sehr gut sind. Wissenschaftlich eben. Dennoch war es toll, das Werk zu lesen. Jeder, der sich für Kitano interessiert und der ein bisschen Mut hat - lesen.
