3 out of 3 people found the following comment useful :- A Japanese interpretation of "Wuthering Heights", 6 octobre 2005
Author:
luciensmith de United States
*** This comment may contain spoilers ***
Just saw this incredible film at the Library of Congress. Since there
are no comments, I thought I would post this interpretation by MAKI
OKUMURA - I don't know who he is either -
Japanese filmmaker Yoshishige Yoshida, in his film Arashi-ga-Oka,
interprets Wuthering Heights in a medieval Japanese folklore context. A
fearful stranger, Onimaru (Heathcliff), tries to intrude into the
central community with a tabooed and profane woman, Kinu (Catherine).
Influenced by George Bataille's argument that the sacred and the
profane are ultimately never in contradiction, Yoshida allows Kinu and
Onimaru to consummate and sublimate their union through their
marginality and profaneness. At the end of the film, they are expelled
by the legitimate second generation and annihilate themselves. The
social harmony, that the intruder disturbed, is restored. However, in
spite of this seemingly clear ending, doubts remain over the legitimacy
of the second Catherine, with the suspicion that she might be the
daughter of Onimaru (Heathcliff). In addition to providing a
distinctive version of an English classic, Yoshida affirms the
multiplicity of meanings and the open-endedness of Emily Bront¸'s
singular drama.
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3 out of 3 people found the following comment useful :-

A Japanese interpretation of "Wuthering Heights", 6 octobre 2005
Author: luciensmith de United States
*** This comment may contain spoilers ***
Just saw this incredible film at the Library of Congress. Since there are no comments, I thought I would post this interpretation by MAKI OKUMURA - I don't know who he is either -
Japanese filmmaker Yoshishige Yoshida, in his film Arashi-ga-Oka, interprets Wuthering Heights in a medieval Japanese folklore context. A fearful stranger, Onimaru (Heathcliff), tries to intrude into the central community with a tabooed and profane woman, Kinu (Catherine). Influenced by George Bataille's argument that the sacred and the profane are ultimately never in contradiction, Yoshida allows Kinu and Onimaru to consummate and sublimate their union through their marginality and profaneness. At the end of the film, they are expelled by the legitimate second generation and annihilate themselves. The social harmony, that the intruder disturbed, is restored. However, in spite of this seemingly clear ending, doubts remain over the legitimacy of the second Catherine, with the suspicion that she might be the daughter of Onimaru (Heathcliff). In addition to providing a distinctive version of an English classic, Yoshida affirms the multiplicity of meanings and the open-endedness of Emily Bront¸'s singular drama.
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