Each person has their own way of travelling. For some nature is important, for others culture is most important. Some organize their trips around regional dishes. And some like a mixture of all those things together to create a balance that satisfy their needs.
Nevertheless, the greater part of the people who travel to Japan are only interested in the two following aspects: traditional culture and Japanese cuisine – a third aspect that is gaining popularity is popular culture. In other words, traveling to Japan is quite often culture and historic based (with an important focus on aestheticism): one wants to see temples, shrines, castles, gardens, … etc. .
This article is written as a critical response to an article written by Shinshi Okajima for Tokyo Girls’ update. His article, in our opinion, provides an unsatisfactory explanation of the phenomenon of gradols/グラドル [gravure idols] for male subjects. By misrepresenting the use of fabric in the world of gravure/グラビア, he fails in our opinion to underline the essential dimension that drives the appeal of Gradols for male subjects.
Any self-respecting cinematography enthusiast should know the name of Kaneto Shindo (1912-2012). As a director, he brought us narratives like Children of Hiroshima (1952), the naked Island (1960), and Onibaba (1964) and, as a screenwriter, he wrote dozen of scripts other well-known directors like Kon Ichikawa (1915-2008), Keisuke Kinoshita (1912-1998), Yasuzo Masumura (1924-1986), Fumio Kamei (1908-1987), Kōzaburō Yoshimura (1911-2000), and Tadashi Imai (1912-1991). As such, it is only logical that psycho-cinematography reviews masters of Japanese cinema, such as Kaneto Shindo. In this article we review his horror narrative Kuroneko (1986).