When speaking about the influences that have led to my
strong interest in many things Japanese, not the least of which involves film,
I usually lie. Well it’s a lie of omission, at least. My mentioning Tetsuo the
Iron Man and even the anime Akira draws enough blank stares, so I usually shift
from there to more familiar ground. My exposure to John Zorn and his subversive
cultural imports from the east end up being left out of the picture, not only
for this reason but it’s been some time since getting myself back in touch with
his highly immersive body of work.
A brief history of my encounters with the cult of Zorn goes
something like this:
Early 90's. thanks to
older sister with adventurous listening tastes, get a glimpse and an earful of
John Zorn squalling away on a saxophone, evincing sounds unimaginable. The old
Knitting Factory. On Houston street.
Devour as many CD’s as possible to make up for the legendary
performances of his band Naked City that I narrowly missed out on. As well as
recordings of various other projects. This would introduce me to Zorn’s
penchant for collecting and presenting dark imagery from Japan by way of his
album’s artwork, which gets to the heart of how essential a curatorial effort
like the one Zorn has put together for the Japan Society is. Throughout I’ve
sprinkled assorted artwork displayed in John Zorn’s CD’s, to give a sense of
his eye for the extreme. Included are painted pieces by Maruo Suehiro,
Japan-based English artist Trevor Brown, and photographs of finely crafted disquieting
dolls.
Late ‘90’s. the Knitting Factory’s next incarnation. On
Leonard Street. I would watch, Zorn
collaborate on cacophonous improvisations with Eye Yamatsuka, legendary
screamer of Naked City and Boredoms; and set air raid siren screams spiraling
amidst the plodding dirges of Painkiller, Zorn’s improv unit with bassist Bill
Laswell.
Early 2000’s. Zorn’s relations with the Knitting Factory had
deteriorated. He opens Tonic. On Norfolk Street. I experience Dizzyingly
complex and deeply layered collaborations with vocalist Mike Patton percussionist
Ikue Mori.
I would later spend a few years in Japan and Tonic would
close its doors.
It was some 10 years later when I’d reconvene with Zorn’s
work again. Part of a series of events to commemorate his 60th birthday. at the Anthology Film Archives. I
sat, mesmerized, as he led a group of his peers through live scores of rare
archived experimental films. I saw a collection of short animated works he had
provided soundtrack work for, including The Cynical Hysterie Hour anime.
And now, we have this new series at Japan Society, The Dark
Side of the Sun: John Zorn on Japanese Cinema. A revival, in a sense, of irregularly held screenings that brought Zorn's film discoveries made while residing in Tokyo to the once thriving scene of East Village small venues. Leisurely paced at one film per
month between now and February of 2015, it offers a singular glimpse into the
shadowy nooks and crannies of Japan’s cinematic past, some more rare than
others. All selected by Zorn. All being shown the way cinema should be seen: In
a darkened theater. Of particular note is CROSS ROADS (jujiro) a silent
experimental film from 1928, worth attention the fact that there will be a live
shamisen accompaniment alone; MATANGO, a seemingly straightforward social
commentary thriller from the ‘60s that bursts into a vivid Technicolor color
bomb of psychedelic imagery; and a screening of 8 short animated films by Osamu
Tezuka masterful creator of a wide range of historically renowned manga from
Black Jack to Buddha. Up first is the
provocatively titled INFLATABLE SEX DOLLS OF THE WASTELAND (still images directly below), a noir-ish looking black and white film
from 1967, which plays this Saturday, October 18th.
For schedule information and a note from John Zorn about the event,
visit the Japan Society website. Check back here for more updates.
No comments:
Post a Comment