#2354

[hsrips]

dave strider. in case anyone was wondering what he looks like

[sdeluu]

'neyse, uyu.

[kirby-the-gorb]

[cleoenfaserum]

CRAZED FRUIT (1956 Japanese film)

EN ESPAÑOL: FRUTA LOCA (VOSE)

Crazed Fruit (狂った果実, Kurutta kajitsu), also known as Juvenile Jungle, is a 1956 Japanese Sun Tribe film directed by Kō Nakahira. It is an adaptation of the novel of the same title by Shintaro Ishihara, the older brother of cast member Yujiro Ishihara, and is about two brothers who fall in love with the same woman and the resulting conflict. The film was controversial upon release because of its depiction of Japanese youth. It later was known as a foundational work of the Sun Tribe genre. Crazed Fruit - Wikipedia IMDb 7'2

Fruta Loca (Crazed Fruit 狂った果実, Kurutta kajitsu), también conocido como Jungla juvenil (Juvenile Jungle), es una película japonesa de 1956 del género Sun Tribe dirigida por Kō Nakahira. Es una adaptación de la novela del mismo título de Shintaro Ishihara, el hermano mayor del miembro del reparto Yujiro Ishihara, y trata sobre dos hermanos que se enamoran de la misma mujer y el conflicto resultante. La película fue controvertida en su estreno debido a su representación de la juventud japonesa. Más tarde se conoció como una obra fundamental del género Sun Tribe.

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1956 - kuru774 k4j175u (v053/1080)

Kurutta kajitsu (狂った果実/Crazed Fruit/Fruta prohibida/Fruta loca, Kô Nakahira, Japón, 1956) Historia de dos hermanos adolescentes que, pasand

NOTE / NOTAS

Crazed Fruit takes its title from the feverish, overflowing energy of a Japanese youth that no longer fit within postwar morality; that’s why, when it premiered in 1956, it caused an uproar: it showed desire, leisure, emotional violence, and a sexual freedom that society wasn’t ready to see reflected on screen. Ko Nakahira made it to capture that generational fracture with an unprecedented, almost documentary frankness, and over time the film shifted from being a “youth scandal” to becoming a turning point: the birth of the taiyōzoku (Sun Tribe), the arrival of Japanese cinematic modernity, and a more honest —and sadder— look at what it means to grow up without a clear place in the world.

taiyōzoku is exactly what is known in English as the Sun Tribe. The term comes from Shintarō Ishihara’s novel Season of the Sun, and it became shorthand for a new, rebellious, pleasure‑seeking postwar youth culture in Japan. Crazed Fruit is one of its defining films.

Crazed Fruit se llama así porque captura la energía desbordada, casi febril, de una juventud japonesa que ya no encajaba en la moral de posguerra; por eso, cuando se estrenó en 1956, provocó un escándalo: mostraba deseo, ocio, violencia emocional y una libertad sexual que la sociedad aún no estaba preparada para ver reflejada en pantalla. Ko Nakahira la hizo para retratar esa fractura generacional con una franqueza inédita, casi documental, y con el tiempo la película pasó de ser un “escándalo juvenil” a convertirse en un punto de inflexión: el nacimiento del taiyōzoku (genero SUN TRIBE), la modernidad cinematográfica japonesa y una mirada más honesta —y más triste— sobre lo que significa crecer sin un lugar claro en el mundo.

Taiyōzoku es exactamente lo que se conoce en inglés como la Tribu del Sol. El término proviene de la novela de Shintarō Ishihara, Season of the Sun, y se convirtió en un término abreviado para una nueva cultura juvenil japonesa de posguerra, rebelde y en busca del placer. Crazed Fruit es una de sus películas definitorias.

Post by @365filmsbyauroranocte · 9 images

💬 0  🔁 28  ❤️ 66 · Crazed Fruit (Kô Nakahira, 1956)

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[meandmyechoes]

It's been awhile since I've seen the costumes in Star Wars designed by Asian culture since the prequels. As an Asian, I'm glad that they've brought the designs back, even if the arranged marriage scene was supposed to be depicted as uncomfortable.

yeah it's been a while! Andor did a wonderful job with it.

The arranged marriage scene speaks so much through the costumes. I love the layers that wrap around each other and eat them up with how restrictive the belts and the emphasis of formality with an obijime, like the grip "tradition" has on the charaters, and the secrets and ulterior motives they conceal.

The boy's mother probably dressed him but likely Leida dressed herself. She's the only one off-shade and has a clear bisection of the colours. It looks as if she's the only one who's actually sincere in the meeting, the one who's less 'wordly' with ulterior motives and thus less 'tainted'. Again, her belt is a free-tying one as opposed to the formal ones on the mothers.

I think it's the first time we see Mon wears a cross-collar top that's more traditional and similar to Perrin's? Both mothers share a similar style but in reverse palettes. Only Mon has Gold wrapping Blue instead of the other way round instead of the other way round. The collar-crossing is a mess but what if it signals how out of touch Mon and Leida are with 'tradition' they got even that wrong?

[harveyphotography]

Villa Comunale - Vietri sul Mare (SA)

[leedongwook]

[tmt-sketch-a-day]

Sketch a Day 2354- Scootaloo- 5/5/22