Performing and Defamiliarizing Arousal in Matsumoto Toshio’s Funeral Parade of Roses
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Matsumoto Toshio’s queer avant-garde film, Funeral Parade of Roses, has been acknowledged for its depiction of Japanese gay subculture and political unrest in the turbulent years of the late 1960s. This is also Matsumoto’s first featured film where he merges avant-garde experiments with documentary filming styles through which he advances his theory of ‘avant-garde documentary’ as a new form of realism. This essay explores the ways in which Funeral Parade of Roses displays and defamiliarizes arousing images, thereby revealing the performative nature of gender and violence. The movie’s use of close-ups and mirror shots in the framing of Eddie testifies to the queer politics of appearance and becoming. Despite a series of shocking images to which we are first aroused, the film abruptly switches to the fictionality of the sexual or violent scenes through the continuous intervention of the filming process. Matsumoto merges avant-garde experiments with cinema de verité, blurring the boundaries between the fictive and the real, the diegetic and the nondiegetic, moving between levels of representation and thus expanding the scope of spectatorship.
Abstract
Matsumoto Toshio’s queer avant-garde film, Funeral Parade of Roses, has been acknowledged for its depiction of Japanese gay subculture and political unrest in the turbulent years of the late 1960s. This is also Matsumoto’s first featured film where he merges avant-garde experiments with documentary filming styles through which he advances his theory of ‘avant-garde documentary’ as a new form of realism. This essay explores the ways in which Funeral Parade of Roses displays and defamiliarizes arousing images, thereby revealing the performative nature of gender and violence. The movie’s use of close-ups and mirror shots in the framing of Eddie testifies to the queer politics of appearance and becoming. Despite a series of shocking images to which we are first aroused, the film abruptly switches to the fictionality of the sexual or violent scenes through the continuous intervention of the filming process. Matsumoto merges avant-garde experiments with cinema de verité, blurring the boundaries between the fictive and the real, the diegetic and the nondiegetic, moving between levels of representation and thus expanding the scope of spectatorship.
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