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 born March 31, 1932, Kyoto, is a Japanese film director. After graduating from Kyoto Universitymarker he was hired by Shochiku Ltd. and quickly progressed to directing his own movies, making his debut feature A Town of Love and Hope (愛と希望の街; Ai to kibō no machi) in 1959.


Ōshima's cinematic career and influence developed very swiftly, and early watershed films Cruel Story of Youth (青春残酷物語), The Sun's Burial (太陽の墓場) and Night and Fog in Japan (日本の夜と霧) all followed in 1960. The last of these 1960 films explored - in challenging fashion - Ōshima's disillusionment with the traditional political left, and his frustrations with the right, and Shochiku withdrew the film from circulation after less than a week, claiming that, following the recent assassination of the Socialist Party leader by a right-wing extremist, there was a risk of “unrest”. Ōshima left the studio in response, and launched his own independent production company. Despite the controversy, Night And Fog In Japan was placed tenth in that year's Kinema Jumpo's best-films poll (among Japanese critics), and it has subsequently amassed considerable acclaim abroad.

Subsequently, Ōshima directed The Catch (1961), based on a novella by Kenzaburo Ōe about the relationship between a wartime Japanese village and a captured African American serviceman. The Catch has not traditionally been viewed as one of Ōshima's major works, it did notably introduce a thematic exploration of bigotry and xenophobia, themes which would explored in greater depth in the later documentary Diary Of Yunbogi (1965), and the feature films Death By Hanging and Three Resurrected Drunkards, both from 1968.

Ōshima then embarked upon a period of work in television, producing a series of documentaries; notably among them 1965's Diary Of Yunbogi. Based upon an examination of the lives of street children in Seoulmarker, it was made by Ōshima after a trip to South Koreamarker.

One of Ōshima's more formally unusual films was Band of Ninja (1967), an adaptation of the popular manga by Sampei Shirato, Ninja Bugei-chō, a 16th-century saga of oppressed peasants and deadly ninja. It is not a live-action film, or even an animated one; Ōshima simply photographed close-ups of Shirato's drawings and added voices. Ōshima had used the technique previously in some documentaries, and a willingness to make use of unorthodox techniques was an indication of the mature period of experimentalism which would soon surface in Ōshima's work. The film managed to become a modest critical and commercial success in Japan.

Ōshima directed three features in 1968. The first of these - Death By Hanging (1968) presented the story of the failed execution of a young Korean for rape and murder, and was loosely based upon an actual crime and execution which had taken place in 1958. The film utilizes non-realistic "distancing" techniques after the fashion of Brecht or Godard to examine Japan's record of racial discrimination against its Korean minority, incorporating elements of farce and political satire, and a number of visual techniques associated with the cinematic new wave in a densely layered narrative. It was placed third in Kinema Jumpo's 1968 poll, and has also garnered significant attention globally. Death By Hanging inaugurated a string of films (continuing through 1976's In the Realm of the Senses) that clarified a number of Ōshima's key themes, most notably a need to question social constraints, and to similarly deconstruct received political doctrines.

Months later, Diary Of A Shinjuku Thief - unites a number of Ōshima's thematic concerns, within a dense, collage-style presentation. Featuring a title which alludes to Jean Genet's The Thief's Journal, the film explores the links between sexual and political radicalism, specifically examining the day-to-day life of a would-be radical whose sexual desires take the form of kleptomania. The fragmented narrative is interrupted by commentators, including an underground noh performance troupe, a psychoanalyst, and an impromptu symposium featuring actors from previous Ōshima films (along with Ōshima himself), all dissecting varied aspects of shifting sexual politics, as embodied by various characters within the film.

Boy (1969), based on another real-life case, was the story of a family who use their child to make money by deliberately getting involved in road accidents and making the drivers pay compensation.


The Ceremony (1971) was a satirical look at Japanese attitudes, famously expressed in a scene where a marriage ceremony has to go ahead even though the bride is not present.

Ōshima is best known for In the Realm of the Senses (Ai no korīda; 愛のコリーダ 1976), a film based on a true story of fatal sexual obsession in 1930s Japan. Ōshima, a critic of censorship and his contemporary Akira Kurosawa's humanism, was determined that the film should feature unsimulated sex and thus the undeveloped film had to be transported to Francemarker to be processed and an uncensored version of the movie is still unavailable in Japan.

In his 1978 companion film to In the Realm of the Senses, Empire of Passion (Ai no bōrei; 愛の亡霊), Ōshima took a more restrained approach to depicting the sexual passions of the two lovers driven to murder, and the film won the 1978 Cannes Film Festivalmarker award for best director.

1980s and 1990s

In 1983 Ōshima had a critical success with a film made partly in English, Merry Christmas, Mr. Lawrence, which is set in a wartime prison camp, and features David Bowie and Ryūichi Sakamoto as examples of Western and Eastern military virtue.

Max, Mon Amour (1986), written with Luis Buñuel's frequent collaborator Jean-Claude Carrière, was a comedy about a diplomat's wife (Charlotte Rampling) whose love affair with a chimpanzee is quietly incorporated into an eminently civilised ménage à trois.

In 1996 Ōshima suffered a stroke, but he returned to directing in 1999 with the period piece Taboo (Gohatto), featuring Merry Christmas, Mr. Lawrence actor Takeshi Kitano and music by co-star and composer Ryūichi Sakamoto. Oshima has since suffered two more strokes, so future films are unlikely.

A collection of Ōshima's essays and articles was published in English in 1993 as Cinema, Censorship and the State (ISBN 0-262-65039-8). A critical study by Maureen Turim, The Films of Oshima Nagisa: Images of a Japanese Iconoclast (ISBN 0-520-20666-5) appeared in 1998.

Nagisa Ōshima currently lives in Fujisawa in Kanagawa Prefecturemarker.


In 2008, curator James Quandt of Cinematheque Ontario in Toronto put together a retrospective of Oshima's work that toured North America in 2008-2009.


Year English title Japanese title Romaji Notes
1959 Tomorrow's Sun 明日の太陽 Ashita no taiyō Short (7 min), color.
1959 A Street of Love and Hope 愛と希望の街 Ai to kibō no machi 62 min, B&W.
1960 Cruel Story of Youth 青春残酷物語 Sēshun zankoku monogatari 96 min, color.
1960 The Sun's Burial 太陽の墓場 Taiyō no hakaba 87 min, color.
1960 Night and Fog in Japan 日本の夜と霧 Nihon no yoru to kiri 107 min, color.
1961 The Catch 飼育 Shiiku 105 min, B&W.
1962 The Rebel 天草四郎時貞 Amakusa shirō tokisada 101 min, B&W.
1963 A Small Child's First Adventure 小さな冒険旅行 Chīsana bōken ryokō 60 min, color.
1964 It's Me Here, Bellett 私はベレット Watashi wa beretto 60 min, color.
1965 The Pleasures of the Flesh 悦楽 Etsuraku 90 min, color.
1965 Yunbogi's Diary ユンボギの日記 Yunbogi no nikki 24 min, B&W.
1966 Violence at High Noon 白昼の通り魔 Hakuchū no tōrima 99 min, B&W.
1967 Tales of the Ninja 忍者武芸帳 Ninja bugē-chō 131 min, B&W.
1967 Sing a Song of Sex (A Treatise on Japanese Bawdy Songs) 日本春歌考 Nihon shunka-kō 103 min, color.
1967 Double Suicide: Japanese Summer 無理心中日本の夏 Muri shinjū: Nihon no natsu 98 min, B&W.
1968 Death by Hanging 絞死刑 Kōshikē 117 min, B&W.
1968 Three Resurrected Drunkards 帰って来たヨッパライ Kaette kita yopparai 80 min, color.
1969 Diary of a Shinjuku Thief 新宿泥棒日記 Shinjuku dorobō nikki 94 min, B&W/color.
1969 Boy 少年 Shōnen 97 min, color.
1970 Man Who Left His Will On Film 東京戰争戦後秘話 Tōkyō sensō sengo hiwa 94 min, B&W.
1971 The Ceremony 儀式 Gishiki 123 min, color.
1972 Dear Summer Sister 夏の妹 Natsu no Imōto 96 min, color.
1976 In the Realm of the Senses 愛のコリーダ Ai no corrida 104 min, color.
1978 In the Realm of Passion 愛の亡霊 Ai no bōrē 108 min, color.
1983 Merry Christmas, Mr. Lawrence 戦場のメリークリスマス Senjō no merī Kurisumasu 123 min, color, UK/Japan.
1986 Max, Mon Amour マックス、モン・アムール Makkusu, Mon Amūru 97 min, color. France/USA/Japan.
1999 Taboo 御法度 Gohatto 100 min, color.

TV documentaries

  • Kōri no naka no sēshun (Youth on Ice, 1962, documentary, 25 min) (TV)
  • Wasurerareta kōgun (The Forgotten Army, 1963, documentary, 25 min) (TV)
  • Sēshun no ishibumi (The Tomb of Youth, 1964, documentary, 40 min) (TV)
  • Hankotsu no toride (A Rebel's Fortress, 1964, documentary, 25 min) (TV)
  • Gimē shōjo (1964) (TV)
  • Chita Niseigo taihēyō ōdan (Crossing the Pacific on the Chita Niseigo, 1964) (TV)
  • Aru kokutetsu-jōmuin (A National Railway Worker, 1964) (TV)
  • Aogeba tōtoshi (Ode to an Old Teacher, 1964) (TV)
  • Aisurebakoso (Why I Love You, 1964) (TV)
  • Ajia no akebono (1964) (TV)
  • Gyosen sonansu (The Trawler Incident, 1965) (TV)
  • Daitōa sensō (The Pacific War, 1968) (TV)
  • Mō-takutō to bunka daikakumē (Mao Tse-Tung and the Cultural Revolution, 1969) (TV)
  • Kyojin-gun (The Giants, 1972) (TV)
  • Joi! Bangla (1972) (TV)
  • Goze: Mōmoku no onna-tabigēnin (The Journey of the Blind Musicians, 1972) (TV)
  • Bengal no chichi laman (1973) (TV)
  • Ikiteiru nihonkai-kaisen (1975) (TV)
  • The Battle of Tsushima (1975, documentary, 50 min)
  • Ōgon no daichi Bengal (The Golden Land of Bengal, 1976) (TV)
  • Ikiteiru umi no bohyō (The Sunken Tomb, 1976) (TV)
  • Ikiteiru gyokusai no shima (The Isle of the Final Battle, 1976, documentary, 25 min) (TV)
  • Denki mō-takutō (The Life of Mao, 1976) (TV)
  • Yokoi shōichi: guamu-to 28 nen no nazo o ou (Yokoi and His Twenty-Eight Years of Secret Life on Guam, 1977) (TV)
  • Shisha wa itsumademo wakai (1977) (TV)
  • Kyōto, My Mother's Place (1991)
  • 100 Years of Japanese Cinema (1994) (TV)


  1. Bock, Audie. Japanese Film Directors, pp 311. Kodansha International, 1978. Tokyo.
  2. Bock, Audie. Japanese Film Directors, pp 333. Kodansha International, 1978. Tokyo.
  3. Turim, Maureen. The Films Of Nagisa Ōshima, pp 168. University of California, 1998. Berkeley.
  4. Bock, Audie. Japanese Film Directors, pp 333. Kodansha International, 1978. Tokyo.
  5. Oshima, Nagisa. Cinema, Censorship And The State, pp 101. MIT Press, 1992. Cambridge.
  6. Richie, Donald A Hundred Years Of Japanese Film pp. 198. Kodansha International, 2001. Tokyo.
  7. Bock, Audie. Japanese Film Directors, pp 335. Kodansha International, 1978. Tokyo.
  8. Sato, Tadao Currents In Japanese Cinema pp. 177. Kodansha International, 1982. Tokyo.
  9. Turim, Maureen. The Films Of Nagisa Oshima, pp 88. University of California, 1998, Berkeley.
  10. In The Realm of Oshima.

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