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THE CINEMA by Shinya Tsukamoto

Author: Andrea Fontana, David Taro, Fabio Zanello (ed.) Publisher: Edizioni Il Foglio, Piombino, 2010 Collection: Cinema - Split Screen Pages: 148 Size: 15 x 21 Price: € 15 Language: Italian

Index: Foreword by Tom Mes Corps - I Sing the Body Eclectic - The denial of course in social Shinya Tsukamoto, Raffaele Meale - Assumptions on the body of foam Hedwig Liotta - Assembly cinema in the body of David Taro - The future is cyber-woman. Tsukamoto through the rubble at the end of the millennium, Domenico Monetti Relations - Shinya Tsukamoto: space fluid, Lorenzo Leone - The break-up relationships, Andrea Fontana - Shinya Tsukamoto. The loss of vision, vision loss, Enrico Carocci - History of an employee Vanguards - The Atrocity Exhibition in the saga of Tetsuo between literature, perceptual alterations and multiple identities, Fabio Zanello - The act of seeing. Experimentalism and prevalence of vision, by Michael Raga - Q factor and shots of encounter, Enrico Azzano - The body of theatrical Tsukamoto, David Taro Approaches - Bullet NALLET or dance divergent fates of urban Matteo Boscarol - An incipit: A Snake of June, or desire, or movies, Massimiliano Spanu Filmography Bibliography

Small publishers grow. The necklace The Literary Gazette devoted to the cinema already includes several volumes of interest, but often overshadowed by a pack and not enough editing. The book on Shinya Tsukamoto has instead completely different premise: it improves the cover, improve the layout, the definition of the photos, they disappear almost completely typographic errors. At the same time involved in the pens get more interesting: in addition to the contribution of Dario Tomasi (whose essay is by far among the more interesting), to validate the work of three outstanding editors preface by Tom Mes, famous for being signed two major works on the history and criticism of modern Japanese cinema, namely Iron Man, Shinya Tsukamoto and Agitator dedicated to the works of Takashi Miike. Decomposing Tsukamoto's filmography in four bisectors (bodies, relationships, and avant-garde approaches), the authors analyze the main elements of the Japanese film, perhaps exacerbating the union man-machine-progress that is the basis for some of his poetry, but is just the departure. For once, the multitude of critics involved results in a positive heterogeneity of the volume, without annoying repetitions between individual essays and prose enlivened by a different job to job. The presence of so many authors clashes with the brevity of the book: some points of view are only sketched, others should be investigated, while (a few) could be neglected.