In this article, Abel compares “Godfather”, “French Connection”, and “Ulysses” to Fukasaku’s The Yakuza Papers. Abel explains The Yakuza Papers as “Sniveling, weeping, groveling, and myriad other abasements of the spirit.” Abel also explains the film as “deeply rewarding for those with the stomach for its kinetic violence; overwhelming in scope and complexity.” A significant understanding though, is Abel’s noting of Fukasaku’s disregard for reflection upon characters: “A dizzying eight-hour hell ride through a time and place as foreign as they come.” The article is used to clearly deconstruct Fukasaku as being unworried by happy endings, that the gangsters’ soldiers are the focus of The Yakuza Papers.
Arai, Andrea G. "Killing Kids: Recession …show more content…
Arai explains Battle Royale as comparing to the realities of Japan as “The sometimes monstrosity of the schoolchild (within the film and without) is powerfully precise for the way it evokes he current problem of the national reproduction (both social and economic).” Arai also compares Battle Royale to the realities and tropes of battle by explaining: “the young protagonist [discovers] that the forced peace has created a youth that has lost the ability to die or sacrifice themselves for anything outside themselves.” A significant point Arai makes is the realities Japan was facing at the time: “During the later half of the twentieth century, the seemingly unanimous conclusion across the academy…the country’s unparalleled trajectory was due to the resilience of it’s cultural repository.” Arai means to say that the horrific-looking introduced children are symbolic for the country’s school system closely going in tow with Japan’s pushing for parity with western countries. The article is intended to create a comparison between the realities behind “Battle Royale” (as well as Fukasaku’s other films, all made in the later half of the 20th century) and “Battle Royale”
Arai, Andrea G. "Killing Kids: Recession …show more content…
Arai explains Battle Royale as comparing to the realities of Japan as “The sometimes monstrosity of the schoolchild (within the film and without) is powerfully precise for the way it evokes he current problem of the national reproduction (both social and economic).” Arai also compares Battle Royale to the realities and tropes of battle by explaining: “the young protagonist [discovers] that the forced peace has created a youth that has lost the ability to die or sacrifice themselves for anything outside themselves.” A significant point Arai makes is the realities Japan was facing at the time: “During the later half of the twentieth century, the seemingly unanimous conclusion across the academy…the country’s unparalleled trajectory was due to the resilience of it’s cultural repository.” Arai means to say that the horrific-looking introduced children are symbolic for the country’s school system closely going in tow with Japan’s pushing for parity with western countries. The article is intended to create a comparison between the realities behind “Battle Royale” (as well as Fukasaku’s other films, all made in the later half of the 20th century) and “Battle Royale”