Eros Plus Massacre

Kiju Yoshida began his career as a director of the Shochiku studio when the Japanese film industry started to decline at 1960.As one of the of the Japanese new wave directors, Kiju Yoshida made a series of film with critical content and challenging style within 1960s-1970s.This paper chooses Kiju Yoshida’s ten independent films as the object, From the concept of self-negation, This Paper regards "self-negation" and "anti-film" as the most important aspects of Kiju Yoshida, which are inherent in the subject of film and politics, and meanwhile constituting the authorship of him. At the level of content, the Split of self coexists in women and rebellious individuals.The opposition of women and patriarchy, individual and the state apparatus constitutes the binary structure of individual-community of the subject. But when the individual is deeply bound in the relationship with the Other (Patriarchal and state apparatus), they choose the self-digestion through sex and death to escape. At to formal, Kiju Yoshida tried to dissolution the melodramatic convention from visual style, narrative, performance and ideology. When he cooperated with ATG, Kiju Yoshida more aggressively exposed the mechanism of artificial in filmmaking and constructed a dramatic style of time and space in order to oppose the illusion of reality in mainstream film.This paper attempts to fill the blank in the research of Kiju Yoshida. his opposition for controlling the meaning,the aspire for autonomous audience, and most fundamentally the exploration for the human freedom main still has an important significance to current filmmaking.