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Regarding the RealCinema, documentary, and the visual arts$
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Des O'Rawe

Print publication date: 2016

Print ISBN-13: 9780719099663

Published to Manchester Scholarship Online: May 2016

DOI: 10.7228/manchester/9780719099663.001.0001

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Architectures of vision

Architectures of vision

Chapter:
(p.161) 7 Architectures of vision
Source:
Regarding the Real
Author(s):

Des O’Rawe

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719099663.003.0008

This chapter discusses Hiroshi Teshigahara's documentaries, especially his 1985 film, Antonio Gaudí. The chapter examines how that film elucidates instances of convergence between documentary filmmaking and architecture. Although Teshigahara's Woman in the Dunes (1964) secured his international reputation as a major figure of the Japanese New Wave, filmmaking only constituted one facet of his artistic activities, and he was – like his father, the head of the famed Sōgetsu School in Tokyo – an accomplished sculptor, ceramist, calligrapher, and landscape designer. In making a film devoted to Gaudí's work, the chapter argues that Teshigahara was not only exploring the curious affinity between Japanese ikebana (floral art) and Catalan moderisme, but he was also elaborating an aesthetics of documentary deeply influenced by other visual arts.

Keywords:   Hiroshi Teshigahara, Tokyo in the Sixties, Ikebana, Japanese New Wave, Surrealism, Catalan modernisme, Antonío Gaudí (1984)

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