The award-winning art film "Hana-Bi, "the stoic gangster elegy "Sonatine, "the surfer romance "A Scene at the Sea, "the absurdist comedy "Getting Any?, "the entertainment samurai spectacle "Zatoichi"--very different films made under one name, Kitano Takeshi. Who is Kitano Takeshi?--an artistic auteur in the traditional sense or a new kind of star who manages multiple identities, strategically changing them from film to film and situation to situation? This book explores issues of auteurship and stardom in the films of Kitano Takeshi, especially as they relate to problems of personal and national identity in a Japan confronting an age of globalization. Aaron Gerow combines a detailed account of Japanese film and criticism with unique close analyses of Kitano's films from "Violent Cop "to "Takeshis. "
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Abe Kasho Abe Kazushige actors aesthetic Aoyama argues Asakusa audience auteur auteurist Azuma beach Beat Takeshi become Blto Takeshi Boiling Point boke Brother bunraku camera characters colour comedian comedy criticised critics critique culture death director Dolls editing emphasised film-making film's foreign frame gags gangster gaze genre Hana-Bi Haruna Hasumi Hiroshi Horibe humour identity instance Japan Japanese film jidaigeki junpo kantoku Kids Return Kikujiro Kinemajunpo Kitano Takeshi Kitano's films lack look manzai Masaki Masao Masaru Matsumoto Mori Masayuki movie Murakawa narration narrative nation Nihon Nishi Nukui offers Office Kitano official pamphlet Okinawa performance political postwar production renders Sawako scene script shift Shigeru shinbun Shinji Shinozaki Shobo shows Sonatine spectator star story structure style Takako Takeshi 0 korosu Takeshi Kitano Takeshi Tokyo tarento television Terajima Susumu Tony Rayns tsukkomi Uehara undermine viewers violence Violent Cop yakuza yakuza film Yamamoto Yamane Sadao Zatoichi