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Svensk synd och japansk oskuld- En jämförelse av syndiga filmer ...
Svensk synd och japansk oskuld- En jämförelse av syndiga filmer ...
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Jonas Danielsson och Jenna Ng Svensk synd och japansk oskuld En jämförelse av syndiga filmer 1950–1980 Jonas Danielsson, fil.dr i etnologi, disputerade 2006 med avhandlingen Skräckskönt: Om kärleken till groteska filmer – en etnologisk studie (h:ström för lag). Han forskar nu om våldtäkt och hämnd i film inom en post doc. vid institutionen för kul tur- och medievetenskaper, Umeå universitet. Jenna Ng, PhD i Film Studies vid University College London (UCL) 2009 och för närvarande postdoc vid HUMlab och knuten till institutionen för kultur- och medievetenskaper vid Umeå universitet. Hennes avhandling har titeln Mutations of Pastness: Time, Cinema, Ontology, och hennes forskningsintressen inkluderar även " digital cinema" och "media technologies". Hon skriver också artiklar om "East and South-East Asian cinema", som har publicerats i Rouge och i olika antologier. den svenska filmen mellan 1950 och 1980 spred bilden av Sverige som ett sexualliberalt land. Framför allt kvinnor beskrevs som lössläppta, sexuellt utmanande och villiga (Arnberg 2009:467). I japansk film rådde nästan motsatt förhållande. Kvinnor betraktades som fogliga och hämmade medan uttryck för fysisk attraktion ansågs ”ojapanskt” (Layne 2006). I denna artikel vill vi jämföra den svenska och den japanska filmkulturen under denna period då båda länderna hade likartade genrer av sexuellt utmanande filmer med bilder av nakna kvinnor. I Sverige kan vi kalla dessa filmer för ”svenska synden” medan de i japan fick en specifik term: pinku eiga (rosa film). 1 De två filmkulturerna tycks ha varit påfallande lika: sexuellt laddade, våldsamma och till synes kvinnoförnedrande. Dessutom fanns ett visst intresse för den svenska synden i Japan och pinkufilmen tog intryck av den svenska filmkulturen. Till exempel medverkade den svenska utvikningsflickan och skådespelerskan Christina Lindberg i två japanska pinkufilmer på 1970-talet: Poruno no joô: Nippon sex ryokô (Sadao Nakajima 1973) och Furyô anego den: Inoshika Ochô (Norifumi Suzuki 1973). I dessa filmer refererades det också genom dialog och bild till sexualliberalismens Sverige. 2 Mot denna bakgrund vill vi se hur dessa filmer under denna period diskuterade frigjordhet, synen på kvinnans kropp och sexualitet i både Japan och Sverige. Därför har vi studerat filmerna i förhållande till censurens ingripanden samt de diskussioner filmerna orsakade då de utkom. Censuren är extra intressant då den har till uppgift att upprätthålla god moral och sedlighet. Ett samhälles moral är högst godtycklig och svår att studera men just utifrån censuren kan man se uttryckliga handlingar KULTURELLA PERSPEKTIV 2010:2, årg. 19, s. 12–24. © Kulturella Perspektiv och författaren. ISSN 1102-7908
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I think I float a bit deeper, it is the time, anyway, I buy it
I do believe, when ya legalize, I´ll no more mind it
But there is always a try so I can´t say yes, because I tried it
I get a bit understanding, I see my soul´s gonna light my fire
Will anybody believe, seeing sunshining takes me higher
I do believe, when ya legalize, I´ll no more mind it
So would ya make up your mind even though I can´t tell it is worth trying
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I took a little of these and a bit of those and now I´m flying
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I do believe in a compromise, in a bit of crying
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Sweet little something in my mouth rolling, it´s easy
Sweet little something me swallowing, it´s easy Support Lesbiens - English Stereo
1. Starting the day, I couldn´t be balanced
Want it all to feel the same
Starting alone, then I see a crowd,
that´s making me wonder
Do you want to be the same
I know that you know, keep burning
I know that you know, the time flies
I know that you know, keep burning
Till it all falls down
Chorus:
Sam what you see´s what you get and it keeps you hanging on
It´s an English stereo
Sam do you know I just hope for a better day
It´s an English stereo
Whenever I get to my home I sit at my window
Never wanna be home without you
It´s an English stereo
2. Starting the day, I couldn´t be balanced
Want it all to feel the same
Being a bone covered in a shroud, being buried under
Do you want to end the same
I know that you know, keep burning
I know that you know, the time flies
I know that you know, keep burning
Till it all falls down
(Chorus)
3. Starting the day, I couldn´t be balanced
It´s making me wonder, do you want to be the same
Starting to fall Feeling the tow
Everyone´s offering a hand
I wanna know Is it for show Will you stay
mezihra
(Chorus)
This is waterfall of human tales.
Just a piece of good luck,
is all that we claim.
But I'm told by a friend,
it's more than sure.
Just as clear as the sky,
there is no fortune for all.
And this is nobody's fault,
and this is nobody's share.
And I Say:
Somebody's soaked,
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Am I caught in the storm.
The sleeping creature.
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The sleeping creature.
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I did not reach it,
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Somebody's soaked (Somebody's soaked - ozvěna),
somebody's cliché (somebody's cliché - ozvěna).
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The sleeping creature (creature - ozvěna).
For I beg high and hope (hope - ozvěna),
for I beg high and hold (hold - ozvěna).
Till I fall in the storm (storm - ozvěna),
The storm of cliché (Ooh).
Somebody, everybody.
High or low, or hiding.
Nobody's born as a creature.
You better be,
not mad at me,
'cause body falls,
vanishes souls.
Me better fear,
nobody's born as a creature.
Nobody's creature,
and nobody fears.
Somebody's soaked,
somebody's cliché.
Am I caught in the storm.
The sleeping creature.
For I beg high and hope,
for I beg high and hold.
Till I fall in the storm.
I did not reach it,
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Somebody's soaked (Somebody's soaked - ozvěna),
somebody's cliché (somebody's cliché - ozvěna).
Am I caught in the storm (storm - ozvěna).
Da sleeping creature (creature - ozvěna).
For I beg high and hope (hope - ozvěna),
for I beg high and hold (hold - ozvěna).
Till I fall in the storm (storm - ozvěna),
The storm of cliché (storm of cliché, The storm of cliché - ozvěna).
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